BMUS (HONS) IN:POPULAR MUSIC PERFORMANCEWITH FOUNDATION YEARBA (HONS) IN:PROFESSIONAL MUSICIANSHIP,MUSIC BUSINESS, MUSIC PRODUCTION SONGWRITING, EVENT MANAGEMENT, MUSIC JOURNALISM

MUSIC DEGREES

EUROPE’S MOST CONNECTED

MUSIC COLLEGE

YOUR MUSIC CAREER STARTS HERE BIMM.CO.UK

WELCOME

BIMM London as many of you will know, previously incorporated Tech Music School, a prestigious and long standing leader in modern music education, founded in 1983. Together, the BIMM organisation and Tech Music School amalgamated their strengths and proudly opened a new site in Fulham in September 2013. As a result we are an innovative, forward thinking, dedicated institute priding ourselves on delivering high quality music education and ensuring professional standards are met by our tutors, staff and students.

You have joined us at a very exciting time! We have spent the summer developing the facilities, growing our team of music industry experts, increasing performance and employment opportunities and expanding the already large musical connectivity we have with the industry. This is to ensure that all of our students get the best experience possible while studying with us.

2017 sees the London College welcome the University of Sussex as our validating partner for the first time. The University has been working with our Colleges in Brighton and Manchester for a long time now so it makes sense that these should be rolled out to the remaining BIMM Colleges. We look forward to working with our colleagues in BIMM and Sussex to give our new degree students the best experience we can with a degree from one of the top Higher Education providers in the world.

As College Principal, I would like to take this opportunity to again welcome you on board, and urge you to get involved. This can be anything from auditioning for our gigs, to setting up your own, from networking to helping. Try to use us up and your time here as much as you can. Be creatively adventurous, collaborate, make connections, earn the respect of your peers and tutors while also returning it. We hope you will make life-long friendships and develop skills that you will thrive off.

Being able to indulge a passion and develop your talent is one of the greatest gifts of all, so enjoy it. Have fun!

All the best for the coming year, and I look forward to meeting and working with as many of you as possible.

JULIA RUZICKA College Principal – BIMM London

WELCOME! WE ARE THRILLED THAT YOU HAVE CHOSEN BIMM LONDON AS YOUR PLACE FOR PROFESSIONAL MUSICAL DEVELOPMENT AND STUDIES. THE WHOLE TEAM HERE ARE VERY MUCH LOOKING FORWARD TO MEETING YOU AND ARE EXCITED TO BE A PART OF YOUR WONDERFUL CAREER IN MUSIC.

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04 INDUCTION AND ENROLMENT05 COURSE INFORMATION06 BMUS(HONS) IN POPULAR MUSIC PERFORMANCE AND

BA(HONS) IN PROFESSIONAL MUSICIANSHIP BASS07 BMUS(HONS) IN POPULAR MUSIC PERFORMANCE AND

BA(HONS) IN PROFESSIONAL MUSICIANSHIP DRUMS08 BMUS(HONS) IN POPULAR MUSIC PERFORMANCE AND

BA(HONS) IN PROFESSIONAL MUSICIANSHIP GUITAR10 BMUS(HONS) IN POPULAR MUSIC PERFORMANCE AND

BA(HONS) IN PROFESSIONAL MUSICIANSHIP VOCALS12 BA(HONS) IN MUSIC BUSINESS13 BA(HONS) IN MUSIC PRODUCTION14 BA(HONS) IN SONGWRITING16 BA(HONS) IN EVENT MANAGEMENT17 BA(HONS) IN MUSIC JOURNALISM 18 STUDENT SUPPORT22 FRESHERS’ GUIDE

CONTENTS

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INDUCTION AND ENROLMENTAT THE INDUCTION DAY YOU WILL BE ISSUED WITH YOUR TIMETABLE FOR THE TERM. TIMETABLES ARE NOT AVAILABLE BEFORE THIS DATE.

In order to prepare you for studying at the College you will need to attend an induction session arranged for you in the last two weeks of September. You should aim to be ready to attend the College from 18th September. Here you will meet key members of staff, be given important information about the College and your course (including timetables and access to College systems), and have the opportunity to look around our premises. It is essential that you attend this session so please be aware that you will need to be flexible with your plans to get the best experience. Exact dates and times will be confirmed via email by mid-August so please keep us updated if your contact details change. There will also be a full programme of Freshers events during this time.

TERM DATESENROLMENT FORTNIGHT: enrolment begins 18th Sep for 2 weeksTERM 1: 2nd October 2017 - 9th December 2017TERM 2: 8th January 2018 - 16th March 2018TERM 3: 9th April 2018 - 15th June 2018RE-SIT WEEK: 13th August - 17th August 2018

PRE ENROLMENT FOR YOUR COURSEAll students are required to confirm their details with us by completing a pre-enrolment form which we will send to you electronically. All instructions and communication will be by email so it is important you keep us informed of any email address changes and check them frequently for updates! We will contact you in the summer with instructions on how you can successfully pre-enrol.In preparation for the pre-enrolment process and to be ready for your enrolment day at BIMM London please gather and take important note of the following items:

Be ready to confirm tuition fee payment either through the Student Loans Company or alternative means.

You have to provide BIMM with proof of ID. This will be in the form of colour scans of passport/driving license/citizen card. One of these will be required for successful enrolment. Please get your ID scanned and ready.

Have a passport style photo ready to scan and email across that will be used for your student ID card.

Make sure you have your academic qualifications available to you! Ready to scan and provide at enrolment.

And again, once you receive your pre-enrolment form by email, please make sure to fill it out and return to the instructed address to ensure a smooth and complete enrolment at BIMM London.

USEFUL CONTACTS

ADMISSIONS: application and pre-enrolment questions admissions@bimm.co.ukSTUDENT SUPPORT: housing and enrolment day questions studentsupportlondon@bimm.co.ukMICHELLE HUMPHREYS: freshers events/tickets michellehumphreys@bimm.co.ukFINANCE: tuition fees/student finance questions financeenquiries@bimm.co.uk

COURSE INFORMATION

BMus(Hons) and BA(Hons)

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POPULAR MUSIC PERFORMANCE

HEAD OF BASS ANDREW MCKINNEY

Being a Bass Player at BIMM means you are instantly plugged into a huge range of exciting opportunities – for learning, creating, performing and recording both on the course and in the professional music industry.

With the demand for versatile professional bass players across the music industry today, there are so many opportunities available. To highlight this fact some of our recent graduates are playing with Jessie J, One Direction and Mark Owen from Take That. Artists worked with this year also include Dido and Jamelia.

The course will provide you with high quality tuition to ensure that you are at the top of your game and able to excel in all the areas the industry demands. Technique, theory, reading, styles, performance, rhythm section, composing, arranging, music technology and music industry are all covered in depth by experienced industry professionals, enabling you to make the most of your career as an in-demand pro bass player.

BMus (Hons) in

PROFESSIONAL MUSICIANSHIPBASS

BA (Hons) in

ESSENTIAL EQUIPMENT

Bass and lead

Tuner

Metronome / Metronome App (Pro Metronome)

Headphones & 1/4 jack input

Manuscript paper and stationery

Spare strings

Ear plugs

RECOMMENDED READING

Slutsky, A ‘Dr Licks’ (1996) Standing in the Shadowsof Motown: The Life and Music of Legendary BassistJames Jamerson. Hal Leonard. Willis, G (1997) Fingerboard Harmony For Bass. (1998) Ultimate Eartraining for Guitar and Bass. Hal Leonard.

Clayton, S (2005) Ultimate Slap Bass. Bassline Publishing. Hrehovcsik, W (1998) Music Reading for Bass –The Complete Guide. Hal Leonard.

Tindall, T (1995) What Duck Done. Bass is Bodacious.

ABRSM (2011) Double Bass SpecimenSight-Reading Tests Grades 1-5 & Double Bass SpecimenSight-Reading Tests Grades 6-8. OUP. Friedland, E (2004) Bass Grooves: Develop YourGroove & Play Like the Pros in Any Style. Backbeat Books. Goldsby, J (2002) The Jazz Bass Book: Techniqueand Tradition. Backbeat Books. Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Please note that this is a recommended reading list and therefore not essential.

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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HEAD OF DRUMS ERIK STAMS

For aspiring drummers there is no better place in Europe tostudy than BIMM London. Centrally located in London,the opportunities afforded to our students are second to none.

The tutors are all experienced, working musicians themselves with a broad base of skill, talent and knowledge. The courses are designed to help you find your own unique musical voice and give each musician the skills and knowledge necessary to succeed in the music business.

Technique, theory, reading, styles, performance, rhythm section, composing, arranging, music technology and music industry are all covered in depth by our experienced industry professionals.

ESSENTIAL EQUIPMENT

Sticks and brushes

Practice pad

Headphones & 1/4 jack input

Metronome / Metronome App (Pro Metronome)

Ear plugs

Manuscript paper and stationery

RECOMMENDED READING

Stone, G. L. (22 May 2009) Stick Control. Alfred Publishing. Bellson, Louis (Mar 2000) The Modern Reading Textin 4/4. Alfred Publishing.

Reed, Ted (1997) Syncopation. Alfred Publishing. Chaffee, G (Mar 2000) Time Functioning Patterns. Alfred Publishing.

Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Riley, John (27 Jun 2005) The Art of Bop Drumming. Alfred Publishing.

Greb, Benny (2012) The Language of Drumming. Hal Leonard. Zoro, (31 Dec 1998) The Commandments of RnBDrumming. Warner Bros. Chester, G. (1998) New Breed. Hal Leonard

Malabe, F. (Mar 1997) Afro-Cuban Rhythms forDrumset. Warner Brothers.

DuDuka de Fonseca/ Riley, J (Oct 1993) Brazilian Rhythms for Drumset. Alfred Publishing.

Rich, B/ Adler, H (28 Feb 2006) Buddy Rich’s Modern Interpretation of Snare Drum Rudiments. Amsco Music;

Revised edition.

Please note that this is a recommended reading list and therefore not essential.

POPULAR MUSIC PERFORMANCE

BMus (Hons) in

PROFESSIONAL MUSICIANSHIPDRUMS

BA (Hons) in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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HEAD OF GUITAR JOHN WHEATCROFT

At BIMM London you will learn the technical and conceptual skills to allow you to fully develop as a unique artist and by teaching you how to study, practice and apply these skills you’ll become truly self-sufficient. Most guitarists go around in circles, practising and therefore playing the same old things. You attempt to break out of this pattern by buying a new guitar DVD, surfing the internet or learning some licks from a magazine. The problem is that as this information is rarely covered in any depth with no means of progression or conceptual understanding, when you pick up the guitar in a playing situation nothing comes out. You’re back to square one again!

To make real improvement requires focus, depth of understanding and real attention to detail. This needs to be in all areas, such as:

• Technique Left hand, right hand and coordination exercises and concepts, looking at posture, efficiency of motion and tone production

• Rhythm How this crucially effects everything we play• Fretboard skills A systematic approach to allow you to know where

you are and where you are going at all times• Styles Understanding the building blocks used to create classic and

contemporary styles, allowing you to perform, create and improvise with authority and authenticity

• Musicality This include skills such as interpreting tunes, improvisation skills, interplay with the band and creating effective guitar parts

• General Musicianship Crucial skills such as Reading, Transcribing, Composing and Arranging, Developing you ear with Aural training and a solid grasp of theory

• Music Technology and Studio Practical experience and technical understanding allowing you to create and record your own music and to function as a guitarist in the recording studio

ESSENTIAL EQUIPMENT

Guitar and lead

Tuner

Metronome/Metronome app (Pro Metronome)

Headphones & 1/4 jack input

Manuscript paper and stationery

Spare strings

Ear plugs

Capo

Slide

Various plectrums

PROFESSIONAL MUSICIANSHIPGUITAR

BA (Hons) in

POPULAR MUSIC PERFORMANCE

BMus (Hons) in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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RECOMMENDED READING

‘INSTRUMENT TECHNIQUE’ TEXTS Szymczak, M. (1986) Berklee Contemporary Guitar Rhythms. Boston: Berklee Press Publishers.

Please note that this is a recommended reading list and therefore not essential.

‘STYLES’ TEXTSGovan, G. (2002) Creative Guitar: Cutting Edge Techniques – Volume 1 & 2. London: Sanctuary.

Buckingham, B. (1998) Rhythm Guitar: The Complete Guide. USA: Musician’s Institute

Leavitt, W. (1999) A Modern Method for Guitar Volumes 1-3. Boston: Berklee Press Publications

Goodrick, M. (1986) The Advancing Guitarist. USA: Hal Leonard

Green, B. (1987) The Inner Game of Music. London: Pan Publications Greene, T. (1971) Chord Chemistry. USA: Alfred Publishing Company

Govan, G. (2002) Creative Guitar: Cutting Edge Techniques – Volume 1 & 2. London: Sanctuary

Oakes, D. (1998) Music Reading for Guitar. USA: Musician’s Institute Satriani, J (1996) Guitar Secrets. USA: Cherry Lane Publishing

Szymczak, M. (1986) Berklee Contemporary Guitar Rhythms. Boston: Berklee Press Publications Wheatcroft, J. (2008) Improvising Blues Guitar. London: Schott.

Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

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HEAD OF VOCALS LISA LAUDAT Congratulations and welcome to London, to BIMM London and to the vocal department. Nowhere compares to the progressive and eclectic hub that is London; the heart of the music industry.

HERE IS WHERE YOU CAN BE WHOEVER YOU WANT TO BE WITHOUT BEING JUDGED FOR IT – A REAL GIFT FOR THE CREATIVE SOUL – AND WHERE INSPIRATION LIES AROUND EVERY CORNER. In addition, when you come to BIMM London you automatically become a member of an exclusive global family with roots in Spain, Sweden, Italy, Germany, Korea, Japan, France, Malta, Russia, Poland, Australia, Denmark, South Africa, Finland, Colombia… you will make friends and connections that you will keep for a lifetime.

You are probably here because you have a passion for singing and want to make it your career. All the tutors in the BIMM London vocal faculty feel exactly the same way. We are all working musicians, performers and writers, and we want to share our experience, knowledge and deep love of the craft of singing with you.

We won’t pretend it’s going to be easy – you will need to work hard to realise the potential both you and we know you possess – but it will be worth it when you acquire the skill and confidence you need to get ahead of the competition and make music your life-path.

Thank you for joining us. Enjoy!

ESSENTIAL EQUIPMENT

Microphone and lead

Manuscript paper and stationery

Keyboard

Ear plugs

Headphones & 1/4 jack input

Access to computer and internet

Recording device (Although not compulsory, it would also be beneficial to have a smartphone or iPad)

PROFESSIONAL MUSICIANSHIPVOCALS

BA (Hons) in

POPULAR MUSIC PERFORMANCE

BMus (Hons) in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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RECOMMENDED READING

VOCAL TECHNIQUE

Baxter, M. (1990) The Rock-n-Roll Singer’s Survival Manual Hal Leonard

Bunch Dayme, M. (2009) Dynamics of the Singing VoiceFifth Edition New York: SpringerWien

Chapman, J. L. (2012) Singing and Teaching Singing –A Holistic Approach to Classical Voice Abingdon: Plural

Publishing Inc.

Harrison, P. T. (2006) The Human Nature of the Singing Voice: Exploring a Holistic Basis for Sound Teaching and Learning Edinburgh: Dunedin Academic Press

Love, R. (1999) Set Your Voice Free Little, Brown and Company

Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

McKinney, J. C. (1994) The Diagnosis and Correction of Vocal Faults Illinois: Waveland Press

Peckham, A (2006) Vocal Workouts for the Contemporary Singer Boston: Berklee Press

Sadolin, C. (2000) Complete Vocal Technique Copenhagen: Shout Publishing

Soto-Morettini, D (2006) Popular Singing: A Practical Guide to: Pop, Jazz, Blues, Rock, Country and GospelLondon: A & C Black

Vennard, W. (1968) Singing – the Mechanism and the Technic Carl Fischer

Zangger Borch, D (2005) Ultimate Vocal VoyageNotfabriken Music Publishing

PERFORMANCE AND PRACTICE

Bourne, E. J (2005) The Anxiety and Phobia Workbook4th Ed Oakland: New Harbinger Publications Inc.

Coyle, D. (2009) The Talent Code London: Random House

Csikszentmihalyi, M. (1992, 2002) Flow London: Rider

Csikszentmihalyi, M. (1996) Creativity: Flow and thePsychology of Discovery and InventionNew York: Harper Collins

Emmons, S. and Thomas, A. (1998) Power Performance for Singers Oxford University Press

Green, L. (2002) How Popular Musicians Learn: A Way Ahead for Music Education Aldershot: Ashgate

Green, B. & Gallwey, W. T. (1986) The Inner Game of Music New York: Doubleday & Co

Please note that this is a recommended reading list and therefore not essential.

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MUSIC BUSINESS HEAD OF MUSIC BUSINESS IAN MACK

So, you made it! Well done. Welcome to Music Business at BIMM, London. We are thrilled you are joining us in the heart of the most creative capital city in the world. A city where music business crosses a wide range of entertainment and media - from TV, film, theatre, advertising and games to recorded products, radio, live performance, festivals, art, fashion and digital. Over the next three years, you will be taught by some of the industry’s most dynamic and inspiring professionals, attend events and masterclasses featuring an illustrious list of industry experts from around the globe, and get to manage your own music projects. You will have access to BIMM’s amazing network of creative and business practitioners, the Colleges’s facilities, as well as a diverse range of London venues. So, seize the moment. Jump in the deep end, take as much as you can from this experience and enjoy the ride. This is the time to develop your skills, make valuable industry contacts and turn your ideas and aspirations into reality. This is the time to make it happen, and have a wonderful time doing it.

RECOMMENDED READING (2004) The Music Management Bible. London: Sanctuary. (2011) The Unsigned Guide 2011 (UK Edition). Manchester: MCR Music.

Gammons, H. (2011) The Art of Music Publishing: Anentrepreneurial guide to publishing and copyrightfor the music, film and media industries. USA: Focal. Godin, S, (2008) Tribes: We Need You to Lead Us. New York: Portfolio.

Harrison, A. (2006) Music: The Business:The Essential Guide to the Law and the Deals. London: Virgin.

Kusek, D. and Leonhard, G, (2005) The Future ofMusic: Manifesto for the Digital Music Revolution. New England: Berklee Press.

Passman, D. (2008). All you need to know about themusic business, 6Rev Ed edition. London: Penguin.

WEBSITESMi2N www.mi2n.comMusic Tank www.musictank.co.ukMusicians Union www.musiciansunion.org.ukMusic Manager’s Forum www.themmf.netMusic Producers’ Guild www.mpg.org.ukPPL UK www.ppluk.comPRS For Music www.prsformusic.comRecord of the Day www.recordoftheday.com

BA(Hons) in

ESSENTIAL EQUIPMENT

Stationery & notepad

Access to a computer

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MUSIC PRODUCTION HEAD OF MUSIC PRODUCTION JOHAN ENGLUND

Congratulations and welcome to music production at BIMM. London is one of the greatest cities in the world and the hub for the creative industries in the UK and beyond.

DURING YOUR TIME AT THE COLLEGE YOU WILL BE TAUGHT BY SOME OF THE UK’S LEADING SPECIALISTS, ATTEND A NUMBER OF MASTER CLASSES FROM INDUSTRY EXPERTS AND PRODUCE A PORTFOLIO OF CREATIVE WORK using industry standard software such as Pro Tools, Logic Pro and Ableton Live. You will be given the opportunity to work with some ofthe finest up and coming performers, songwriters, creative musicians and music business students around. Be sure to experience as much as possible during your time here, take advantage of our excellent facilities; including our impressive studios and tech suites. This is the perfect opportunity for you to make connections, collaborate, learnand create in one of the most exciting and vibrant creative cities in the world. Get creative!

ESSENTIAL EQUIPMENT

Manuscript book & notepad

Headphones & 1/4 jack input

Earplugs

Access to computer

External hard drive

BA(Hons) in

RECOMMENDED READING

TEXTSOwsinski, B. (2009) The Recording Engineer’s Handbook. New York: Music Sales Limited.

Massey, H. (2000) Behind the Glass. San Francisco:

Backbeat Books.

Koryat, K. (2008) Guerilla Home Recording: How to Get Great Sound from Any Studio. New York: Hal Leonard.

Simone Corelli (2013) Pro Tools in One Hour (coffee break included). 1 Edition. CreateSpace Independent Publishing Platform.

JOURNALS/MAGAZINESMusicTech. Anthem Publishing Ltd. • Sound On Sound. SOS

Publications Group. • FutureMusic. Future Publishing Ltd

WEBSITESSound On Sound www.soundonsound.comGearslutz forums www.gearslutz.com/boardTape Op Message Board www.messageboard.tapeop.comAbleton website www.ableton.comAvid Pro Audio Community www.duc.avid.com

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SONGWRITING HEAD OF SONGWRITING BECKY JONES

Congratulations and welcome to our Songwriting Degree at BIMM London. Ahead of you now is an enriching three-year programme of personal artistic and technical development in the heart of one of the most creative capital cities in the world.

THE SONGWRITING DEGREE AT BIMM LONDON IS DESIGNED TO ENCOURAGE AND SUPPORT ALL TYPES OF WRITERS EQUALLY. YOUR EXPERIENCE WILL INVOLVE YOU DEVELOPING YOUR INDIVIDUAL ARTISTIC VOICE AS WELL AS LOOKING TO FIT THIS INTO THE COMMERCIAL INDUSTRY, WHETHER THAT IS WRITING FOR OTHERS OR DEVELOPING YOUR OWN ARTISTIC CAREER.

The high-quality recording studio complex and industry standard programming and recording technology within the building is free for you to use throughout your course. Taking you from the fundamentals of ‘traditional’ song construction to composing for film, the course provides a challenging yet vital and exciting set of experiences, geared towards shaping you into an adaptable employable writer as well as a developed artistic voice. Our small but passionate faculty, all of whom have had years of commercial and artistic writing and performance experience, aim for a culture of open, positive encouragement. Using both organic classroom environments and extracurricular showcasing opportunities, you will be encouraged to regularly show your work. Teamed with your specialist classes you will also explore the ever-evolving music industry, looking at practical career frameworks and commercial opportunities afforded to you as a writer.

ESSENTIAL EQUIPMENT

A very hard-wearing writing pad

Metronome/Metronome App (Pro Metronome)

A voice recorder App

An external hard drive

An instrument to write with (keyboard or guitar)

Headphones with 1/4" jack adaptor

RECOMMENDED EQUIPMENT

Apple Mac with Logic Pro X

BA(Hons) in

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RECOMMENDED READING

VOCAL TECHNIQUEZollo, P. (2003) Songwriters on Songwriting. New York: Da Capo

Pattison, P (1991) Essential Guide to Lyric Form andStructure: Tools and Techniques for Writing BetterLyrics. New York: Hal Leonard Corporation

Rooksby, R (2006) Lyrics: Writing Better Wordsfor Your Songs.Pattison, P (1992) Songwriting: Essential Guideto Rhyming. New York: Hal Leonard Corporation

Shipton, A (2013) Nilsson: The Life of a SingerSongwriter. Oxford University Press

Levitin, D (2008) The World in Six Songs:How the Musical Brain Created Human Nature.Perricone, P. (2000) Melody in Songwriting.USA: Berklee Press Publications

Leonard Cohen (2006) Book of Longing. Penguin

JOURNALS/MAGAZINESMusic Week (Main UK Industry Magazine) M Magazine (PRS’ Magazine)Mojo MagazineNMEQ MagazineThe Guardian Guide (Saturdays)

WEBSITES/BLOGSPRS www.prsformusic.comPPL www.ppluk.comBASCA basca.org.ukSONGLINES www.songlines.co.ukAUDIOBOOM (MUSIC SECTION)audioboom.comOPEN MICS IN LONDON www.richardgregory.org.uk/music/openmic/london-circuit.htmThe Quietus www.thequietus.comDrowned in Sound www.drownedinsound.comFact www.factmag.comPitchfork www.pitchfork.comThe Line of Best Fit www.thelineofbestfit.comThe 405 www.thefourohfive.comThe Guardian Music www.theguardian.com/musicClashmusic www.clashmusic.com

TWITTER@thebpi@ppluk@CMU@songlinesmag@basca_uk@theivors@musicweeknews@m_magazineprs

@prsformusic@prsfoundation@uk_music@aim_uk@recordoftheday@officialcharts@guardianmusic

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EVENT MANAGEMENT

BA(Hons) in

RECOMMENDED READING

Raj, Razaq, Walters, Paul, Rashid, Tahir (2013): Events Management: Principles and Practice Sage Shone, Anton; Parry, Bryn (2012): Successful Event Management Cengage Learning Byrne, David (2013): How Music Works Canongate

Passman, D. (2007). All you need to know about the music business UK Edition London: Penguin Bowdin, G. (et al) (2011): Events Management. (3rd Ed) Oxford: Butterworth-Heinemann

Getz, D. 2007. Event Studies: Theory, Research and Policy for Planned Events Oxford: Butterworth-Heinemann

Bowdin, G. (et al) 2011. Events Management (3rd Ed) Oxford: Butterworth-Heinemann

Getz, D. 2007. Event Studies: Theory, Research and Policy for Planned Events Oxford: Butterworth-Heinemann

Dobson, M. (2010) Creative Project Management USA: McGraw-Hill Professional

HEAD OF EVENT MANAGEMENT HOWARD MONK

Welcome to the Event Management programme at BIMM London. This is truly a city alive with shows, festivals, and special events so you’re very well placed to learn a great deal here!

We’ve got a great teaching team here with experienced music and events industry practitioners who marry this experience to an academic rigour developed by studying and training. We will work hard with our industry partners and contacts, to ensure you get as many opportunities as possible both within the course and externally, to gain experience and valuable insight into the live event industry.

We’ll be using a mix of modern classroom techniques and practical experiences to make this an enjoyable and valuable experience for you. With your help and enthusiasm, I would expect to have you all working in some capacity well before the end of your studies. Of course much of this depends on you! Prepare to get stuck in!

Please do not hesitate to contact me with feedback or pass comments on via the student representatives.

ESSENTIAL EQUIPMENT

Stationery & notepad

Access to computer

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MUSIC JOURNALISM BA(Hons) in

RECOMMENDED READINGAnderton, C; Dubber, A; James, M. (2012) Understanding The Music Industries. Sage Press

Bennett, A. (2009) Popular Music and Youth Culture. London: Palgrave Macmillan Hicks, W. 2008. Writing for Journalists.Hicks, W. (2013) English for Journalists. Brayfield, C. (2008) Arts reviews : And How to Write Them. Cullup, M: (2000) Brush Up On Your Grammar. Powers, D: (2013) Writing the Record: ‘The Village Voice’ and the Birth of Rock Criticism American Popular Music

Grossman, Ally-Jane and Woodworth, Marc (2015) How to Write About Music: Excerpts from the 33 1/3 Series, Magazines, Books and Blogs with Advice from Industry-leading Writers. Bloomsbury Academic: London.

Kent, Nick (2007) The Dark Stuff: Selected Writings on Rock Music 1972-1993. Faber and Faber: London.

Long, Pat (2012) The History of the NME: High Times and Low Lives at the World’s Most Famous Music Magazine. Portico: London.

Supple, Leticia (2013) Music Journalism 101: The definitive resource for new and established writers. Self-published.

Please note that this is a recommended reading list and therefore not essential.

HEAD OF MUSIC JOURNALISM PAUL LESTERLondon is the home of music, and music journalism. It is where publications such as NME and Melody Maker were born, and legendary writers from Nick Kent to Julie Burchill achieved household name status. At BIMM London we will give you the tools you need to carve a career as a music journalist. Whether you intend to write for websites, daily newspapers’ music sections, the weekly press or monthly titles from MOJO to Mixmag, this is where to get the best start. You will learn how to write concert reports, record reviews and features, and how to conduct interviews with your favourite artists. We will help you make industry connections, with PRs, record companies and magazines.

Our tutors are professional music journalists, matching knowledge with academic rigour, and providing a mix of theory, history and practical experience. Ideally located close to the heart of the capital’s music scene, BIMM London is the perfect place for budding music writers.

ESSENTIAL EQUIPMENT

Enthusiasm

Access to a computer

Notebook and pens

RECOMMENDED EQUIPMENT

Laptop

Dictaphone or recording app on your phone. We recommend the Olympus VN-741PC Digital voice recorder

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STUDENT SUPPORT

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PASTORAL SUPPORTThe Student Support team holds individual one-on-one sessions with students to discuss any issue they may be struggling with. These can include any topic, ranging from personal issues, attendance & assessment related queries, booking in for one of the services or any special considerations we may need to take into account for your course and/or exams. We actively encourage students to book appointments and to come and meet us at any point during their studies for extra support.

STUDENT SUPPORT SERVICESWe are committed to helping students fulfil their potential during their time at BIMM London and place emphasis on supporting the development of our students both academically and personally. With this in mind, the Student Support Team are available at every step of the student journey to offer confidential support and guidance on issues such as stress, alcohol and drugs, disability and learning support, family/relationship problems, mental health and anxiety issues as well as on-going academic and practical learning support and advice. We also offer a wide range of additional support services that are designed to meet students’ academic and welfare needs and enrich the BIMM London experience:

ACADEMIC TUTORIALSStudents are encouraged to book regular tutorials to work on technique, master their academic writing and discuss their skills development. Tutorials give students a unique opportunity to be individually guided by the most experience industry professionals in the country.

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BIMM London is committed to a policy of equalopportunities for students and provides confidentialadvice and support to students with disabilities andspecific learning difficulties. We encourage eligible students to make an application for DSA (Disabled Students Allowance) and for those who are not able to apply, we have an in-house study skills specialist available for individual support.

If students indicate on their application and/orpre-enrolment form that they require further support, then a member of the Student Support Team will contact them before the start of the academic year for an individual consultation.

We work with students with a wide range ofdisabilities, including but by no means restricted to:• Specific Learning Difficulties (such as dyslexia,

dyspraxia, ADHD)• Mental Health Difficulties (such as depression,

bi-polar disorder)• Long-term medical conditions (such as HIV,

cancer, multiple sclerosis)• Unseen disabilities (such as diabetes, asthma,

epilepsy)• Sensory impairments (such as visual impairment,

hearing impairment)• Mobility or physical impairments (such as

paralysis, arthritis).

DISABILITY AND LEARNING SUPPORT

COUNSELLINGThe BIMM London Counselling service is availablevia a free and confidential provision which offers theopportunity to explore a wide range of emotional andpsychological issues. The BIMM London Counselloris hugely experienced and abides by the BritishAssociation for Counselling Code of Ethics. We also provide our students with helpful links to external counselling support, as the demand for in-house counselling is extremely high at peak times.

MUSIC HEALTHOur Music Health specialist holds free sessions to deal with musical related injuries and the prevention of injuries, such as repetitive strain injury, hand and arm pains, neck & back pains, tension & headaches, posture, voice & hearing problems, nutrition as well as general fitness.

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PERFORMANCE PSYCHOLOGYOur Performance Psychology specialist runs a number of workshops and one-on-one sessions throughout the academic year which are free and open to all students. Performance Psychology tackles anything ranging from stage fright and anxiety to managing stress and procrastination as well as performance preparation and lyric learning techniques. This subject will enable students to perform at their very best on stage and in the business world. 1:1, small group vocal confidence classes and masterclasses are available throughout the year.

ENGLISH AS A FOREIGN LANGUAGE – WORKSHOPSThe workshops are designed for non-English speakingstudents of all abilities and will focus on all areasof language learning – conversation, pronunciation,intonation, grammar, listening and reading, whilst alsoproving support with essay planning and structure.In addition, the workshops will build confidence andhelp students to feel comfortable using slang and informal English.

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FRESHERS’ GUIDE

COMMON FEELINGSMoving away from home to a new city and starting University is a really exciting opportunity for a big change. You get to make a whole new start in a new place with new people. You might feel a mixture of great excitement and nervousness – what will the course really be like? Will I get on with my housemates? Will I make friends? How do I look after myself?

Please remember that you are not alone in feeling this way. These are all questions that everyone in your situation is asking themselves. If you’re worried about making friends, or not knowing the city, or how to make a Bolognese; remember that every other person around you feels the same way, and within just a couple of days you will feel more at home and comfortable than you can even imagine.

STRATEGIES FOR COPINGThere are some important things to keep in mind when going through this experience of moving away from home. These will prepare you and help you to cope with any situation you stumble across.

Look after yourself – It takes time for new friends to really know you properly, which means you need to put your own welfare, health and safety at the top of your priorities.

Know yourself and what you can handle – This is a time when you can experiment and find a way of living that really suits you, but this can take time. Try not to be pressured or influenced by others’ opinions and actions. Try to make decisions about life choices in the cold light of day, so that you know how you want to respond if you end up in a tricky situation.

Confront difficulties – In a new environment it’s easy to waste time worrying about things you don’t understand or can’t control. Don’t be afraid to ask the Student Support team and many other agencies external to BIMM who are ready and willing to help you with any problem or query, big or small. Begin to see challenging situations as a chance to overcome something rather than a problem in your way.

Be healthy – Maintain a good diet, get adequate sleep and try to be active when you can; people are often happier if they are healthy. Register with a local doctor’s surgery so that if you fall ill you can get the right care. If you are feeling stressed or sad talk to the Student Support team, they will find you the right support; know when you need to get some extra help.

Make a budget – Work out how much money you have for the term, and how much you will have to spend on unavoidable costs like rent, food and bills. This way you will know how much you have left to spend on yourself. Doing this will avoid running out of money half way through the term, which can be very stressful.

Don’t work all the time – As independent study is so important at University, it can sometimes be hard to give yourself time off. Give yourself regular breaks and occasional days off.

Do work some of the time – Being away from home and with so much to do in a new city, it can be easy to neglect your work and fall behind in the course. Make sure you find the time for your studies to avoid a stressful situation.

Be yourself! – People can’t get to know and like you for who you really are if you don’t act like yourself. There are so many people to potentially become friends with, be yourself and you will find the right friends for you.

FRESHERS’ EVENTS AT THE BEGINNING OF THE FIRST TERM ARE A GREAT WAY TO MEET PEOPLE AND MAKE FRIENDS. WE’LL PROVIDE YOU WITH INFORMATION ABOUT THESE AT ENROLMENT. YOU CAN EXPECT AMAZING GIGS, NETWORKING EVENTS, DRINK PROMOTIONS, ROOFTOP CINEMA AND A BOAT PARTY!

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YOUR MUSIC CAREER STARTS HERE

BIMM London

Barclay House, Effie Rd, Fulham, London SW6 1EN

(UK) 0208 749 3131(INT) +44 208 749 3131

london@bimm.co.uk

BRITISH & IRISH MODERN MUSIC INSTITUTE BIMM.CO.UK

WE’RE HERE TO HELP YOU THROUGHOUT YOUR TIME AT BIMM LONDON

We are committed to helping you throughout your

studies with us at BIMM London and offer a wide

range of support services designed to meet your

academic and welfare needs, don’t hesitate to

speak to us whenever required: T: 0208 749 3131 E: studentsupportlondon@bimm.co.uk

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