BA (Hons) Songwriting Programme Specifications

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Contents Page BA (Hons) Songwriting Programme Specifications Form B 3

BA (Hons) Songwriting Teaching and Assessment Structure 27

BA (Hons) Songwriting Module Leadership 35

BA (Hons) Songwriting Level 4 36



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FORM B

Programme Specification Please refer to the ‘Guidance Notes for the completion of required Validation documentation’ when completing this form.

Name of final award: (e.g. FdA / FdSc / BA(Hons) / BSc(Hons) / MSc)

BA (Hons)

Programme title: e.g. (Digital Media Arts)

Songwriting

Level:

4, 5 & 6 Credits: 360

Exit awards, level and credits: (where applicable)

Certificate of Higher Education – 120 credits Diploma of Higher Education – 240 credits Ordinary degree – 300 credits Honours degree – 360 credits

School:

Tech Music School

Field:

Music Production

Collaborative Partners: (where applicable) Note: Approval for a collaborative partner to deliver a programme requires an additional approval event.

None

Document version:

1.0

Date document completed:

23/3/12

Document completed by:

Phelan Kane, Head of Higher Education, TMS

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1. Awarding body/Institution

University of West London

2. Teaching institution

Tech Music School

3. Admissions criteria

160 UCAS points (from Level 3 qualification such as A Level/BTEC, or another equivalent 16-19 Diploma). Applicants must have achieved Grade 5 Theory & Aural (from a recognised award body) for successful admission. In special circumstances a conditional place may be offered prior to completion of grade 5 before the course commences. Non native English speaking students need to meet our English language requirement of IELTS 5.5 or equivalent. Applications by experienced practitioners without formal qualifications may also be considered through accreditation of prior experiential learning via the TMS APEL policy.

IELTS Score for International Students

5.5 or equivalent

4. Codes

UCAS Code A N/A

UCAS Code B N/A

JACS Code N/A

Other

5. Professional, Statutory and Regulatory Body accreditation (if applicable)

None

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6. Career and progression opportunities

The BA (Hons) Songwriting allows students to develop the skills necessary to produce high quality original musical material relevant to the modern music industry. The course has an emphasis on creativity and originality and allows students to develop your individual voice and style. A successful songwriter needs a wide range of skills, therefore the course includes modules in composition, stylistic analysis, arranging, lyric writing, recording skills, musicianship, music business, music production, composing music for the moving image and writing to commission. Option choices at level 6 will allow students to focus on and develop skills in different paradigms, within a level 6 autonomous construct. Graduates will be able to pursue many differing opportunities across the music industry as songwriters, arrangers, self composing artists, in house writers, freelance writers, music for moving image composers, mix and/or recording engineers, music programmers, publishers, song producers / doctors and music for stage composers. Opportunities exist for students to explore teaching careers upon graduation.

7. Location of delivery

Tech Music School, Acton, London, W3 7SZ.

8. Mode of delivery (Copy and paste this symbol - )

Full-time Part-time Distance learning Work-based learning*

Other If other, please specify:

*Work-based learning - if the programme includes work-based learning elements, please specify below:

a. Is employment in a particular work role necessary to complete assessments? b. Are work placements an essential part of the programme?

Via the optional level 6 module TMSPERF607 Music Pedagogy students have the choice to explore educational constructs. The module is designed to be highly participative and practical and it includes a requirement for students to undertake teaching and/ or leading in an appropriate music education setting. This setting can either be internal within TMS or external via one of the TMS Industry Partners, or via the wider remit of BIMM Group member sites. The Music Pedagogy module acknowledges the current changes proposed by the National Plan for Music Education where community musicians will now be expected to teach in schools. With both internal and external placement all related procedures such as risk assessment, health and safety, safeguarding and CRB will be adhered to with over arching management of these issues delivered by TMS on the student’s behalf.

9. Planned programme duration

Certificate of Higher Education – 120 credits – one academic year. Diploma of Higher Education – 240 credits – two academic years. Ordinary degree – 300 credits – three academic years.

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Honours degree – 360 credits – three academic years.

10. Sequencing within the academic calendar (Copy and paste this symbol - )

September only start February only start September and February start

Other If other, please specify:

11. First date of delivery of the programme (month and year)

September / October 2012

12. Language of study

English

13. Links with External Organisations/Industrial Partners

British Academy of Songwriters, Composers and Authors Music Producers Guild (UK) Music Managers Forum PPL PRS for Music Musicians Union Art of Record Production Conference LCoM International Songwriting Conference LCoM International Festival for Innovations in Music Production and Composition Long Island House Studios Audio Engineering Society Software and hardware by Apple Computers Software by Native Instruments Software by Ableton Software by Avid Audio hardware by Audient Academia Software Solutions Range of local music venues Korg keyboards Hammond organs Amplification by Marshall, Hartke and Peavey Guitars and Basses by Gibson, Fender and Music Man Drums by Mapex Sticks by Vater Cymbals by Zildjian Percussion equipment by LP Drum heads by Evans PA's by Peavey Microphones by Shure and Sontronics

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14. Student support arrangements

Undergraduate programmes Throughout their programme of study, each student will have access to a variety of sources of support depending on individual circumstances and needs. Apart from the University-wide support framework, which encompasses the programme leaders, the module leaders, the personal tutors, in-programme learning skills development and Personal Development Planning (PDP), all students will have at their disposal a variety of different support systems which depend on the nature of the programme. The development of learning skills includes such techniques and activities as critical appraisal, reflection, literature searching, information technology, peer review, group work, presentation, research, practice/professional skills, note-taking, writing skills, electronic information retrieval, communication skills and independent study at home. These skills will be an integral part of learning programmes. Students are expected to participate in an induction. This will introduce them to the requirements of their programme of study and will provide an opportunity to receive all the relevant programme documentation, visit the Library and meet and discuss requirements and expectations of their planned learning experience with the programme team. The following student support services are available for students: Careers and Employment Services Advice Team Disability Team Information and Funding Team Accommodation Team Chaplaincy Counselling Students’ Union Further programme specific information:

TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Programme Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Career Action Planning and Artist Development Tutorials These tutorials are a unique aspect of the TMS experience that enable students to have intensive one-to-one meetings with highly experienced professionals who can advise on all aspects of professional development from technical advice to broader support in all aspects of a student’s progress. TMS aims to provide the widest range of tutors across all disciplines and slots can be booked up to three weeks in advance.

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TMS Pastoral Tutorials These tutorials provide support on any issues that might get in the way of succeeding at TMS (i.e. medical, financial, accommodation or other personal issues). The Student Support team delivers these tutorials and all have received basic counselling training. Where a member of the Student Support team identifies a serious issue they will make a referral to one of TMS’s professional counsellors. Where punctuality or unprofessional behaviour is an issue those students will be called in to a pastoral tutorial to discuss any reasons for non-attendance and to be supported in getting back on track. TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, students make their choices across a three week period when academic skills are discussed and analysed. During the decision making process the Head of Education, Programme Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise.

15. Aims of the programme

The BA (Hons) Songwriting enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at TMS. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other musical disciplines. Performance opportunities exist to have your songs performed by members of the School’s student body. Students also develop their critical, analytical and reflective skills by considering their songs in the context of the musical, cultural and sociological development of popular music and the music industry. Alongside the attainment of high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including song frameworks, session planners, reflective elements, learning diaries and various forms of research projects. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Programme Leader and the individual student.

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16. Content of the programme

The course aims to provide graduates with the knowledge and skills appropriate to a range of career outcomes in the music industry. Students are encouraged to develop their individual creative ability and support this with the development of a high level of technical skill. In particular, the course aims to enable students to develop:

a range of physical, creative, technical and compositional skills relevant to employment in the commercial songwriting and creative industries;

an understanding of the key critical, social, cultural, historical and business concepts, issues and debates relevant to the area of modern music, and to organise and sustain an argument;

a comprehensive knowledge of contemporary practice for careers in the music industry and the creative processes in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in songwriting and the music industry;

the ability to make creative use of, and experiment with, new and existing music technology hardware and software platforms in contemporary professional songwriting practice;

a clear understanding of where their creative strengths lie and how these can be utilised in the music industry and potential career opportunities;

skills in research, analysis, problem solving and critical reflection and the visual, written and verbal communication skills required of a graduate entrant to the music industry;

initiative and personal responsibility, experience of collaborative working methods and the ability to be responsive and adaptable to changing needs and the transferable skills and competencies which enable lifelong learning within the context of professional songwriting;

transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry;

the ability to manage and organise their own learning, and to make use of scholarly reviews and primary sources, such as research articles and/or original materials appropriate to professional songwriting.

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17. Module list and pre-requisites

Module Title Code Level Credits Pre-requisites Core Optional

Recording Skills TMSMP501 4 20 none

Songwriting 1* TMSSW401 4 20 none

Song Stylistics TMSSW402 4 20 none

Music Technology for Songwriters 1

TMSSW403 4 20 none

Musicianship* TMSSW404 4 20 none

Music Industry Landscape* TMSMB403 4 20 none

Songwriting 2* TMSSW501 5 20 TMSSW401


TMSSW502 5 20 none

Arranging TMSSW503 5 20 TMSSW404

Music Publishing and the Legal Framework

TMSBUS502 5 20 none

Popular Music Culture TMSPERF505 5 20 TMSMB403

Music for Moving Image 1 TMSMP503 5 20 none

Writing for Commission TMSSW504 5 20 none

Showcase TMSSW505 5 20 Compulsory audition. Applicants are expected to demonstrate standards to grade 7 performance.

Song Project TMSSW601 6 40 none

Personal and Business Development

TMSPERF603 6 20 none

Songwriting 3 TMSSW602 6 20 TMSSW501

Song Production TMSSW603 6 20 none

Writing for Stage TMSSW604 6 20 none

Music For Moving Image 2 TMSMP604 6 20 TMSMP503


TMSSW605 6 20 none

Music Pedagogy in Practice TMSPERF607 6 20 none

*Compensated passes cannot be applied to these modules. See UWL regulations for further info on compensated passes.

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18. Programme Learning Outcomes

Level 4 Relevant modules

A – Knowledge and understanding

A1. Illustrate a firm grasp of the essential

concepts and techniques involved within a

typical music production environment.

A2. Exemplify a solid understanding of the basic

concepts of songwriting, within the popular

music idiom.

A3. Create a solid grounding in musicality and

apply technical, theoretical and creative

concepts to musical structures.

A4. Identify industry standard protocols and

practices and apply these structures with limited

guidance.

Recording Skills Music Technology for Songwriters 1

Song Writing 1 Song Stylistics Musicianship Song Writing 1 Song Stylistics Musicianship Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape

B – Intellectual skills B1. Exercise judgement and to make informed

choices.

B2. Examine assumptions critically in the light of

evidence.

B3. Assemble a range of critical listening skills

that instil the ability to critique a variety of

songwriting, music production, sequencing

and/or recording techniques.

B4. Comprehend the contemporary landscape

of the music production industry and identify the

key stakeholders and providers within the

Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1

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industry.

B5. Conceptualise and apply pertinent theories

and concepts in relation to their own work.

Music Industry Landscape Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape

C – Subject practical skills C1. Use an appropriate range of equipment for

creating and recording music.

C2. Use and create computer software for

musical tasks including composing and

recording, editing, analysing and synthesising

sound.

C3. Begin to build a portfolio of music industry

related content, with limited independence.

C4. Deliver songwriting & academic portfolios in

a myriad of suitable industry standard formats.

Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape

D – Key / Transferable skills D1. Successfully integrate appropriate

Information and Communication Technology

(word-processing, e-mail, online sources and

other electronic information services) into

personal project workflow.

D2. Undergo disciplined professional

development: practice, learn new practices,

obtain new skills, and identify career options.

Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills

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D3. Employ initiative and time management

skills to carry creative, technical and other

projects to completion.

D4. Utilise interpersonal skills to communicate

ideas clearly and unambiguously within

collaborative contexts.

D5. Identify career options and access routes to

employment within a variety of appropriate

contexts.

Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape Recording Skills Music Technology for Songwriters 1 Recording Skills Song Writing 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Music Industry Landscape



A1. Develop a coherent theoretical analysis of

emerging technological developments within

songwriting idioms.

A2. Understand theoretical and aesthetic

systems and relate theory and practice to each

other.

A3. Express a high level of musicality with an

ability to effectively analyse and synthesise

musical concepts in a popular music context.

A4. Relate music to its historical, social, cultural,

political, philosophical, and economic context

and to relate processes of change in music to

historical, social and other factors.

Song Writing 2 Arranging Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework

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A5. Digest pertinent academic literature and

relate it to music industry practice.

Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase

B – Intellectual skills B1. Assimilate and synthesise complex

information.

B2. Synthesise inputs (materials, knowledge,

instinct, tradition) in order to generate informed

and personally owned outputs in written, aural

or practical format.

B3. Research and explore: gathering, synthesis

and evaluation of evidence, including the ability

to quote from and acknowledge written sources.

B4. Conceptualise and apply pertinent theories

and concepts in relation to their own work.

Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Music Technology for Songwriters 2 Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase

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Studio Management

C – Subject practical skills C1. Reflect critically in order to evaluate

technologically-mediated forms of music.

C2. Implement advanced musical and technical

constructs with an emphasis on originality and

creativity.

C3. Exhibit problem-solving skills: reacting to

new situations, decoding information and ideas,

dealing with complex situations, and finding

ways of working with others

under pressure.

Song Writing 2 Music Technology for Songwriters 2 Music for Moving Image 1 Writing for Commission Song Writing 2 Music Technology for Songwriters 2 Arranging Music for Moving Image 1 Writing for Commission Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase

D – Key / Transferable skills D1. An ability to react spontaneously, manage

risk and cope with the unexpected.

D2. Present work in an appropriate range of

professional contexts.

D3. Apply industry standard protocols,

techniques and methodologies suitable for a

prescribed paradigm.

Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture

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D4. Through self reflection, critique and/or

expansion of knowledge, devise and implement

a continuing professional development

processes.

Music for Moving Image 1 Writing for Commission Showcase Song Writing 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework Popular Music Culture Music for Moving Image 1 Writing for Commission Showcase



A1. Assess concepts and hypotheses critically

in the light of evidence, and to apply

insights and discoveries in one area of study to

another.

A2. Define advanced academic conventions

and integrate their protocols within a substantial

body of work.

A3. Work autonomously on a substantial project

and utilise critical thinking skills with flair and

authority.

Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy

B – Intellectual skills B1. Develop research methodologies and apply

them to a suitable chosen schema via a

heightened piece of academic writing that

encapsulates appropriate referencing,

presentation and writing style.

Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2

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B2. Employ reasoning and logic in order to

analyse data, and to formulate relevant

arguments and hypotheses; and the ability to

express, interpret and discuss such

analyses, arguments and hypotheses.

B3. Synthesise techniques of analysis and

enquiry using established procedures.

Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy

C – Subject practical skills C1. Self-motivate, set realistic goals, and work

effectively independently and/or in team

settings.

C2. Absorb the imaginative concepts of others,

to build upon them and to communicate the

resultant synthesis.

C3. Demonstrate advanced practical proficiency

in relation to songwriting paradigms.

Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Songwriting 3 Song Production Writing for Stage

D – Key / Transferable skills D1. Direct personal learning, interpreting

applicable scholarly material within a suitable

professional framework.

Song Project Personal and Business Development Songwriting 3 Song Production

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D2. Synthesise original concepts, and present

the results with lucidity.

D3. Employ self-directed learning and time

management skills to ensure successful

achievement of goals and deadlines.

D4. Apply problem-solving skills to cope with

new situations, translate information and ideas,

manage difficult situations, and work effectively

under pressure.

D5. Use reflective practice and critical thinking

to undertake informed personal, academic and

professional development.

Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Song Writers 3 Music Pedagogy

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19. Graduate attributes and employability skills

Recognising the need for songwriters to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:

Creativity, craftsmanship and practical skills.

Songwriting schema: engaging with musical processes & developing individual creativity.

Analysis of repertoire components and their broader aesthetic.

Musicianship, composition and the ability to understand and theorise the art from.

The creative application of music production facets and their relationship to songwriting.

The social significance of music & the role of social factors in affecting our response to music.

Music industry frameworks and personal and business development.

Project management, trouble shooting, critical thinking and self reflection.

20. Teaching and Learning strategies

TMS prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioner’s who are equipped for a sustainable career in an ever changing industry. All our tutors are active professional practitioner’s, well-placed to provide students with first-hand advice and guidance on the requirements of the music industry. We encourage a holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The TMS curriculum experience features regular class sizes ranging from 12-16. In these classes the core and specialist subjects are covered. Classes are delivered in a multi level style and all students are engaged with each other’s learning. One-to-one personal tutorials are available for the negotiation and refining of personal goals and targets, both on the course and in the context of a career plan. The ‘Community of Inquiry’ is central to TMS. Studying with us enables the student to become part of a wide ranging student body of business specialists, producers, musicians, performers and songwriters at TMS; a microcosm of the industry. This gives the student an opportunity to integrate, network and build business models, musical partnerships and collaborations with students from other musical disciplines. Some lessons are delivered in a large scale lecture format; delivered in groups of 30-60 multi-discipline students. This is where the TMS creative community is celebrated. Philosophical ideas and concepts such as personal and business management are discussed, and collaborative projects such as gigs, production deals, songwriting splits, management deals and record labels are planned. Students begin to learn how to deal with competition, problems, setbacks, assessment, to celebrate each other’s success and to engage in peer debate. Modules will be delivered in small groups in a combined lecture/workshop format (when appropriate). Practical workshops will occur within suitably equipped rooms for relevant sections of the module. The use of technology as a teaching tool will be included in the module. When appropriate, each student will have access to their own Apple Mac workstation running industry standard hardware and software. For applicable modules, overhead projection will be used to deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using appropriate media such as software and hardware examples, classroom whiteboard, audio recordings, references to hand outs and web URL’s. Tutorial opportunities exist whereby students can explore portfolio concepts with their tutor(s).

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21. Assessment strategies

The assessment rationale for this programme is based upon a vocational ethos. Constructive alignment has been applied where ever possible to assessment artefacts across modules which retains the individual academic scope for each element of the programme (i.e. Level 4 Recording Skills and Level 4 Music Technology for Songwriters 1). A wide range of approaches are taken which include audio artefacts, portfolios, examinations, session diaries, timed projects, repertoire performance (via session performers and MD processes), academic essays, written critiques, transcriptions, moving image media, research papers, technical exercises, written reports, investigations and (where appropriate) class presentations and seminars. The range of assessment traits utilised reflects the breadth of learning outcomes and objectives for the course itself. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the tutor, Module Leader and/or Programme Leader and the individual student. Formative assessment methodology will be embedded in the curriculum (i.e. at the end of term(s) when appropriate) and consist of presentations, seminars and tutor driven feedback workshops. Assessment design has followed appropriate taxonomy procedures and is staggered across the final phase of the term(s) to allow students to effectively manage their submission workflow. Level 4 modules feed into appropriate level 5 modules to embellish and heighten skill sets (i.e. Songwriting 1 into Songwriting 2 into Songwriting 3, Musicianship into Arranging into Music for the Moving Image 2 etc). Academic writing and study skills are embedded into the level 4 Music Industry Landscape module providing a basis for more detail academic writing requirements for level 5 and 6 modules. Various conceptual pathways exist within the programme (i.e. level 5 Writing for Commission into level 5 Song Production; level 4 Musicianship into level 5 Arranging into level 6 Music for Moving Image 2) which feature a development of assessment design appropriate to the idiom. Suitable assessment methods exist for level 6 modules supporting the autonomous nature of this level and developing critical thinking, analysis and reflection within the student body.

22. Opportunities for work-based learning and employer engagement

The BA (Hons) Songwriting enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at TMS. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other musical disciplines. Performance opportunities exist to have student’s songs performed by members of the School’s ‘performance’ student body. The School has excellent links with the music industry including leading record labels and artist management companies, performing artists, publishing companies, recording studios, industry bodies, magazines and venues. Opportunities exist for student’s to work with our Industry Partners, with many students engaging in projects during and after graduation. Our Visiting Tutor model supports the enriching and enhancement of pedagogic learning and teaching activities. Industry professions represent an important facet in the learning & teaching strategy at TMS. These individuals provide real world experience within their chosen idiom and impact knowledge, experience and inspiration within the student body.

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23. Personal Development Planning (PDP)

Personal Development Planning is central to the ethos of the BA (Hons) Songwriting. Aspects of self reflection are embedded within the curriculum. Students will develop their critical, analytical and reflective skills by considering their productions in the context of the musical, cultural and sociological development of popular music and the music industry. Various assessment methodologies exist that provide the student the opportunity to engage in critique and self reflection of their work. The core level 6 module Personnel and Business development features an embedded PDP ethos within its design. This module gives the student the opportunity to explore and develop the personal, interpersonal and team skills that count towards success. The module will introduce what are often called the “soft” skills – or the “emotionally intelligent” skills – that are increasingly vital for personal and business success. They are particularly important for freelancers. Throughout the module, the emphasis is on developing the skills student’s need in a way that is personally relevant to them. Academic tutorial portals are available upon request, which are managed via the TMS Student Support team and Course Leaders. These tutorials allow the student the opportunity to explore academic, pastoral and/or career planning areas:

TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Course Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Career Action Planning and Artist Development Tutorials These tutorials are a unique aspect of the TMS experience that enable students to have intensive one-to-one meetings with highly experienced professionals who can advise on all aspects of professional development from technical advice to broader support in all aspects of a student’s progress. TMS aims to provide the widest range of tutors across all disciplines and slots can be booked up to three weeks in advance. TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, students make their choices across a three week period when academic skills are discussed and analysed. During the decision making process the Head of Education, Course Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise.

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24. QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this programme can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx 2. Nature and scope of music 2.12 The variety of degree titles awarded reflects the variety of the music programmes on offer. But these titles often relate to the particular history of the HEI giving the award and do not necessarily indicate the main music subject area studied. The most common award titles for an undergraduate honours degree in music are BA or BMus, but one will also find MusB, BSc, BPA, BAPA, BEng, and MA (in Scotland). Currently, there are around a hundred HEIs offering degree programmes in music, of which a small number are conservatoires (eight defined as having specialist status), the rest being divided between universities and colleges of higher or further education. 2.16 Notwithstanding these emphases, all degree programmes are characterised to some extent by the same fundamental, linking concerns. These include:

• investigating the nature of musical texts, whether written or aural • exploring musical repertoires and their cultural contexts • understanding the relevance of music and music-making to societies past and present • interrogating issues of aesthetics, reception and dissemination of music • engaging with musical processes, materials and technologies, whether through

composition, performance, analysis, or criticism • enhancing musical creativity through performance, composition and improvisation • linking aural to notational and verbal articulations of musical ideas • tracing relationships between theory and practice • understanding the nature of musical experiences • developing musical skills.

3. Subject knowledge and understanding 3.3 Music programmes often focus on one or more specific repertoires of music from Western and/or non-Western traditions, for example art music; popular music; jazz; vernacular music; and religious music. In such programmes, aural, analytical and practical skills are fundamental but other disciplines are often drawn upon, including history, cultural theory, literature, iconography, palaeography, anthropology, ethnography, and the physical, social and technological sciences. Some indicative disciplines within music: Musical performance and composition 3.9 Personal development is also central to the study of improvisation and composition, where students seek to develop their creativity as individuals. Studies in this area will normally cover technical aspects of improvisation and composition, together with matters of presentation and of communication with performers and audiences. The learning environment will normally offer opportunities for the music of student improvisers and composers to be performed and/or recorded. 3.11 In music theory and analysis, students develop the ability to internalise a musical passage, to reflect on it constructively, and to express their conclusions using appropriate terminology, concepts and means of presentation. Studies will normally reflect both traditional ways of talking about musical materials and the concerns of recent research in this area, though the balance of these approaches may vary with the overall priorities of the programme. Familiarity with traditional

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

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concepts is frequently developed through exercises akin to composition, within specific constraints of style and technique. 3.14 Music technology is a broad subject encompassing the scientific study and manipulation of sound, creative applications, the design of novel instruments and methods for recording, storing and propagating sound. Awards may include technology-based studies in subjects vocationally relevant to the recording, broadcasting, and/or public performance of music, or in areas principally of relevance to composers, instrument designers and manufacturers, performers and musicologists. In addition, new industries are emerging which draw upon constituent elements of broad areas of music technology such as the design of sound for virtual and online environments, and music for interactive computer gaming. In whatever field technology-based studies are undertaken, students develop both practical mastery and an understanding of theoretical principles. 3.15 Music students studying acoustics can be expected to gain an understanding of acoustical principles specifically relevant to musical practice, concerning issues such as the design of concert halls and musical instruments. The extent to which mathematical detail and other sub-disciplines, such as psychoacoustics, are included may vary significantly according to the overall priorities of the award. 3.18 In the area of music pedagogy, students develop planning and organisational skills and the ability to undertake the practice of musical pedagogy at clearly defined levels. They study curriculum design and a range of teaching methodologies, and develop the ability to select relevant methods of delivery for different curricula. They need to understand key musical concepts in practice and to be able to translate these to an appropriate level in relation to the teaching context. It is understood that some of the theories and skills may be taught generically in other areas of the student’s programme, corresponding to the requirements of external awarding bodies. 3.20 The study of music in the community is concerned with the transforming role music may play in a variety of community settings, and with skills and insights relating to the use of music in rehabilitative, recuperative or similar contexts. The learning experience generally includes supervised work (for example on placement) in institutions such as prisons, hospitals and community centres, together with relevant academic support, and the interface with professions such as music education and music therapy may be important in some contexts. 4.3 Individual programmes in music are distinguished by the varying emphases given to practical and academic work. Thus some programmes in musical performance or composition, typically those delivered in conservatoire contexts, will give particular emphasis to the practical, creative and subject-specific skills that will equip the graduate for professional work as a performer or composer. Programmes in technology similarly emphasise specific vocational skills. Others integrate performance and/or composition with a variety of other musical studies (and complementary non-musical studies); the balance between different types of skill therefore varies, preparing students for a wide range of musical and non-musical vocations. To some extent, the balance of skills developed may be determined by the individual student according to specific interests, strengths and objectives as required for personal development. 5. Teaching, learning and assessment 5.2 The multiplicity of music curricula across the HE sector is a strength that allows students, many of whom are led to the study of music by a genuine passion for the subject, the opportunity to select a programme most suited to their particular interests and requirements. Courses concerned with contemporary, creative, or performing arts allow students to engage with aspects of musical study according to their interests and skills, and in some HEIs fruitful crossovers between art forms, between the arts and humanities, and between the arts and science can positively enhance the student learning experience.

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5.3 Music provision in HE covers a broad spectrum from composition and performance-based programmes to those more focused on text-based studies or technology, and any integrated combination and weighting thereof. While individual music programmes will call upon and seek to develop complexes of skills and knowledge, it is generally assumed that aural-analytical skills, and the knowledge of one or more repertoires and their associated techniques and traditions of performance and reception, are fundamental to the study of the discipline. With this in mind, programme design in music is frequently based on a pattern in which these fundamental elements are consolidated within the first year (or two years of a four-year programme) while students are encouraged to specialise in the later phase of their studies.

The programme design methodology for the BA (Hons) Songwriting has been constructively aligned with the QAA Subject Benchmark statements for music (2008) as outlined in section 4.This provides an academic infrastructure that supports the TMS ethos of an holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The curriculum for the BA (Hons) Songwriting is forward thinking, robust and contemporary and is modelled on the landscape of the current music industry. What the student studies is relevant to the working practices of the industry: students learn what they need to learn. In line with good pedagogic practice, TMS strives to cater for as many diverse learning styles as possible during delivery of its programmes. A mixture of different learning & teaching approaches and activities are embedded in the curriculum of all TMS Programmes under guidance defined by the QAA Subject Benchmark statements for music (2008): development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion all serve to enrich the student experience. QAA Subject Benchmark statements (Music 2008) utilised for programme design include: Aural/analytical skills

4.8 Students develop special skills in order to study the sounds of music, and to relate them to each other, to their written representations, and to their context.

Compositional skills

4.10: Like performance, composition teaches a number of technical and critical skills, and particularly emphasises the creative aspects of musical study. Some elements of compositional craft and technique may be developed through exercises using historical exemplars and enriched by historical and aesthetic reflection. Improvisation combines elements of compositional and performance skills.

Knowledge-based skills

4.11 Study of the chosen repertoire(s) and of the historical, philosophical and cultural context of music involves a variety of intellectual skills, of which some are specific to music, and some are shared with other branches of scholarship.

Technological skills

4.12: Technological skills emphasise practical competence with technological procedures, but they include a creative element and have specific vocational applications. To use an appropriate range of equipment for creating and recording music. To use and create computer software for musical tasks including composing and performing, making notation, recording, editing, analysing and synthesising sound.

Other skills

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4.13 The graduate in music will have developed a wide range of transferable skills, many of which are common to the other arts, humanities, science and vocational subjects, and are applicable to issues of musical and non-musical origin. Depending on the strengths of the individual student and the character of the particular degree programme.

Intellectual skills

4.14 Such skills include the ability to research and explore: gathering, synthesis and evaluation of evidence, including the ability to quote from and acknowledge written sources. Recognise direct influences and quotations in one's own and others' work. Examine assumptions critically in the light of evidence. Employ reasoning and logic in order to analyse data, and to formulate relevant arguments and hypotheses; and the ability to express, interpret and discuss such analyses, arguments and hypotheses. Plan, implement, evaluate, and reflect critically on work in progress. Synthesise inputs (materials, knowledge, instinct, tradition) in order to generate informed and personally owned outputs in written, aural or practical format. Assimilate and synthesise complex information. Comprehend and apply the parameters of context extract issues of practice from principle, and principle from practice. Exercise judgement and to make informed choices. Conceptualise and to apply concepts.

Skills of communication and interaction

4.15 Such skills include information and communication technology (ICT) skills including word-processing, email, use of online and other electronic information sources. Development of language skills. The ability to work as an integrated member of a team. To respond to partnership and leadership, and to lead others in teamwork. An ability to react spontaneously, manage risk and cope with the unexpected. Skills in public presentation, including an awareness of audience characteristics and responses. Awareness of professional protocols and the ability to absorb the imaginative concepts of others, to build upon them and to communicate the resultant synthesis An appropriate outlook and experience for work in multicultural environments. Awareness of issues within the arts world: cultural policy, funding mechanisms, professional arts structures and institutions, arts within the community.

Skills of personal management

4.16: Self-motivation: to practice, take on new repertoires, create a freelance career, acquire new skills, initiate career moves, continue to learn and explore, and keep abreast of developments in an ever-changing profession. Problem-solving skills: reacting to new situations, decoding information and ideas, dealing with complex situations, and finding ways of working with others under pressure.

Enhanced powers of imagination/creativity

4.17 Such skills include flexibility of thought and action, openness to new, personal, different or alternative thinking, curiosity and the desire to explore and express and the ability and confidence to carry a creative project through to delivery.

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25. QAA Qualification Descriptors The relevant qualification descriptors for this programme can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx

Bachelor's degrees with honours are awarded to students who have demonstrated:

• a systematic understanding of key aspects of their field of study, including acquisition of coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline;

• an ability to deploy accurately established techniques of analysis and enquiry within a discipline;

• conceptual understanding that enables the student: to devise and sustain arguments, and/or to solve problems, using ideas and

techniques, some of which are at the forefront of a discipline; to describe and comment upon particular aspects of current research, or equivalent

advanced scholarship, in the discipline; an appreciation of the uncertainty, ambiguity and limits of knowledge; the ability to manage their own learning, and to make use of scholarly reviews and

primary sources (for example, refereed research articles and/or original materials appropriate to the discipline);

Typically, holders of the qualification will be able to:

• apply the methods and techniques that they have learned to review, consolidate, extend and apply their knowledge and understanding, and to initiate and carry out projects;

• critically evaluate arguments, assumptions, abstract concepts and data (that may be incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem;

• communicate information, ideas, problems and solutions to both specialist and non specialist audiences;

And holders will have:

• the qualities and transferable skills necessary for employment requiring: • the exercise of initiative and personal responsibility; • decision-making in complex and unpredictable contexts; • the learning ability needed to undertake appropriate further training of a professional or • equivalent nature.

http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx

26. BA (Hons) Songwriting Teaching and Assessment Structure The following table summarises the learning outcomes and teaching and assessment structures for each module.

LEVEL 4

Module Credits Classes Weekly contact

hours Summative

Assessments Learning Outcomes

Recording Skills

20 Theory lectures Recording workshops

1.5

W10 (30%) W30 (50%) W30 (20%)

1. Demonstrate a solid understanding in the use and

application of microphones. 2. Evaluate digital audio theory and successfully

implement digital audio traits within a contemporary Digital Audio Workstation.

3. Construct multi track recordings of live audio signals within a contemporary Digital Audio Workstation.

4. Plan, manage and execute a group work based recording portfolio and trouble shoot basic problems with limited support.

Song Writing 1

20 Theory lectures Songwriting workshops

1.5 W9 (30%) W19 (30%) W29 (40%)

1. Identify, evaluate and successfully implement songwriting techniques within a portfolio of original material under guidance.

2. Construct a portfolio of original contrasting songs with an emphasis on creativity.

3. Plan, manage and execute a portfolio of original songs and trouble shoot basic problems with limited support.

Song Stylistics

20 Theory lectures Analysis workshops

1.5 W20 (40%) W30 (60%)

1. Identify stylistic song traits utilised within the pop music

idiom. 2. Apply a myriad of appropriate songwriting techniques

when constructing original material to a stylistic brief. 3. Appraise and justify a selection of songwriting traits

utilised within a stylistic brief. 4. Plan, manage and execute a portfolio of original songs

constructed to a stylistic brief and trouble shoot problems with limited support.

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Music Technology for Song Writers 1

20 Theory lectures Workstation workshops

1.5 W10 (30%) W30 (50%) W30 (20%)

1. Apply sequencing techniques within a software environment.

2. Perform musically applicable edits upon digital audio content.

3. Develop a creative approach to mix down schematics. 4. Plan, manage and execute a music production artefact

and trouble shoot basic problems with limited support.

Musicianship 20

Theory & Aural lectures

1 W19 (30%) W29 (30%)

1. Demonstrate an understanding of key theoretical

concepts by constructing basic musical structures in a limited timeframe.

2. Analyse and interpret basic musical structures in a limited timeframe.

3. Identify and provide critique upon a myriad of music production techniques and their role within the aesthetic of the studied material.

4. Identify and provide critique upon a myriad of songwriting techniques and their role within the aesthetic of the studied material.

Production & song analysis workshops

1 W29 (40%)

Music Industry Landscape

20 Industry lectures

1.5 Wk10 (10%) W20 (50%) W30 (40%)

1. Analyse the internal structure, operation and output of a

music organisation and produce a well-structured case study.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

3. Evaluate the importance of copyright as an economic force underpinning the music industry.

4. Demonstrate an appropriate level of reading and research, demonstrating appropriate academic conventions.

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LEVEL 5

Module Credits Classes Weekly

contact hours Summative


Songwriting 2 20 Theory lectures Songwriting workshops

1.5 W9 (30%) W19 (30%) W29 (40%)

1. Appraise a myriad of songwriting techniques and apply

them into a self constructed portfolio of original material with limited support.

2. Construct unique self-authored musical material and further build an identifiable repertoire of original material, with an emphasis on creativity.




1.5

W30 (60%) W30 (40%)

1. Produce a high quality mix down artefact that has an

emphasis on musical aesthetic. 2. Apply audio manipulation, editing and processing

techniques with creativity. 3. Create broadcast ready mastered artefacts within

industry standard protocols. 4. Plan, manage and execute both mix down artefacts and

mastered artefacts and trouble shoot basic problems with limited support.

Arranging 20 Theory lectures Arranging workshop

1.5 W9 (30%) W29 (70%)

1. Apply advanced theoretical concepts to pre-defined compositions within a fixed timeframe.

2. Create an original arrangement using various standard professional techniques for a medium to large ensemble within a fixed timeframe.

3. Produce a score for an arrangement, using correct notational conventions for a medium to large ensemble within a fixed timeframe

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Music Publishing and the Legal Framework

20 Theory lectures Seminars Tutorials

1.5 W20 (40%) W30 (60%)

1. Describe and evaluate historical changes in copyright

law in the context of the UK music industry. 2. Evaluate basic copyright law and the format of relevant

music industry based contracts, from a variety of positions (e.g. performers, song writers, music publishers, music industry workers).

3. Evaluate the contemporary context of copyright and its relationship to a changing media environment.

4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework, employing fundamental skills of primary and secondary research.

Popular Music Culture

20 Cultural perspectives lecture

1.5 Wk 10 (25%) Wk 27 (75%)

1. Understand the origin, development and impact of a range of significant genres in popular music.

2. Evaluate the relationship between popular music and social change.

3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the present day

4. Use academic resources to evaluate the impact of these artist in detail

OPTIONS (1 of 3)

Music for Moving Image 1

20

Theory lectures Film score workshop

1.5 W19 (30%) W29 (50%) W29 (20%)

1. Asses the importance of visual and music aesthetic

within a music for moving image product and apply necessary compositional conventions to produce a valid artefact within the idiom.

2. Conform working methodologies to a specific external brief and demonstrate flexibility in practice.

3. Comprehend and utilise technical musical production aspects with working on a music for moving image product within industry standard hardware and software platforms.

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Writing for Commission


1.5 W19 (40%) W29 (60%)

1. Distinguish the role of musical aesthetic when working

within a specified brief and successfully syntheses these areas to produce a high quality cohesive asset.

2. Appraise and apply appropriate songwriting and compositional traits when working on a pre-defined music brief and justify use.

3. Plan, manage and execute a high order music project defined to a specific brief and trouble shoot problems with limited guidance.

Showcase 20 Theory lectures Portfolio workshops

1.5 W10 (30%) W30 (70%)

1. Identify a unique personal artistic songwriting and

musical style and build a cohesive over arching aesthetic when working within the pop music idiom.

2. Construct unique self-authored musical material destined for performance and build a repertoire of original material within a self defined style.

3. Plan, manage and execute an original song portfolio and trouble shoot problems with limited guidance.

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LEVEL 6

Module Credits Classes Weekly

contact hours Summative


Song Project 40

Research techniques lectures (term one only)

1

W10 (10%) W30 (60%) W30 (30%)

1. Deliver a songwriting portfolio that showcases

expansive musical security, stylistic interpretation, creative aesthetic and flair.

2. Autonomously engage in a substantial heightened project that exhibits planning, composition, production, argument and critique with limited supervision.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is suitably presented and referenced.

Supervision 0.4

Personal and Business Development

20 Lecture 1.5

W27 (100%)

1. Plan & carry out independent personal development and business development activity.

2. Analyse the results of this activity. 3. Critically evaluate a range of tools/methods for

personal and business development, relating these tools to their own developmental activity.

OPTIONS (2 of 6)

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Songwriting 3 20 Theory lectures Songwriting workshops

1.5 W9 (30%) W19 (30%) W29 (40%)

1. Appraise advanced songwriting techniques utilised

beyond the standard remit of the popular music idiom and critique their use within a self authored piece of work.

2. Interpret a myriad of advanced songwriting techniques and derive them into a high order original portfolio of self authored work that encapsulates originality, creativity and flair.

3. Plan, manage and execute an original song portfolio and trouble shoot problems with total autonomy.

Song Production


1.5 W19 (30%) W29 (70%)

1. Appraise advanced songwriting techniques utilised

beyond the standard remit of the popular music idiom and critique their use within a self authored piece of work.



Writing for Stage


1.5 W20 (40%) W30 (60%)

1. Distinguish the role of musical aesthetic when working

within a music for stage brief and successfully syntheses these areas to produce a high quality cohesive asset.

2. Appraise and apply appropriate songwriting, compositional and arranging traits when working on a pre-defined music for stage brief and justify use.

3. Plan, manage and execute a high order music for stage project defined to a specific brief and trouble shoot problems with total independence.

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Music For Moving Image 2

20

Theory lectures Film score workshop

1.5 W30 (50%) W30 (30%) W30 (20%)

1. Distinguish the role of composition and visual aesthetic

when working within a brief for a moving image product and successfully syntheses these areas to produce a high quality cohesive asset that follows industry standard protocols.

2. Appraise and apply advanced compositional traits and technical musical production facets when working on a music for moving image product and justify use.

3. Plan, manage and execute a high order moving image project and trouble shoot problems with total independence.



1.5 W30 (60%) W30 (40%)

1. Construct a self generated music production style and

create a high order audio artefact that that exhibits originality, creativity and flair.

2. Interpret synthesis and sampling methodologies within a virtual environment and apply traits to form a musically cohesive artefact.

3. Explore advanced sonic manipulation and audio processing techniques via industry standard protocols.

4. Plan, manage and execute a high order audio processing project and trouble shoot problems with total independence.

Music Pedagogy in Practice

20

Theory lectures Practical workshop Micro-teaching

1.5 W28 (50%)

W22-27 (50%

1. Utilise key pedagogic principles vital to musical learning

in a variety of settings. 2. Create session outcomes and learning outcomes

through devising an appropriate educational project in music.

3. Enable and facilitate participants’ musical progression. 4. Evaluate the strengths and weaknesses of their own

sessions as well as those of their peers.

27. BA (Hons) Songwriting Module Leadership

Level 4

TMSMP401 Recording Skills Johan Englund TMSSW401 Songwriting 1 Yak Bondy TMSSW402 Song Stylistics TMSSW403 Music Technology for Song Writers 1

tbc Johan Englund

TMSSW404 Musicianship Richard Lightman TMSMB403 Music Industry Landscape Harry Leckstein

Level 5

TMSSW501 Songwriting 2 Victy Silva TMSSW502 Music Technology for Song Writers 2 Johan Englund TMSSW503 Arranging tbc TMSBUS502 Music Publishing & the Legal Framework

Ian Mack

TMSPERF505 Popular Music Culture Options 1of 3: TMSMP503 Music for Moving Image 1 TMSSW504 Writing for Commission TMSSW505 Showcase

Richard Lightman Richard Lightman Yak Bondy Victy Silva

Level 6

TMSSW601 Song Project Yak Bondy TMSPERF603 Personal and Business Development Options 3 of 6:

Harry Leckstein

TMSSW602 Song Writing 3 Yak Bondy TMSSW603 Song Production TMSSW604 Writing for Stage

Victy Silva tbc

TMSMP604 Music for the Moving Image 2 Richard Lightman TMSSW605 Music Technology for Song Writers 3 Johan Englund TMSPERF607 Music Pedagogy in Practice tbc

36

BA (Hons) Songwriting

Level 4

37

TMSMP401: Recording Skills

Key Information

Course: BA (Hons) Music Production BA (Hons) Song Writing

Module Code: TMSMP401

Module Level: 4

Module Credits: 20

Pre-requisite module or learning: None

Module type: Mandatory

Teaching & Learning

Lectures: 1 x 1.5-hour lectures per week for 27 weeks (40.5 hours)

Tutorials: 3 x 20 minutes

Personal Development Time: 158.5 hours

Module Leader & Tutors Module Leader: tbc Tutors: tbc

Module Summary Behind every great audio product there lies a great recording. The skills needed to capture a great recording are

essential to any music producer or creative musician. This module explores the fundamental principles of multi track

recording technique covering aspects such as audio quality and microphone technique. Understanding the technical

constraints imposed by a recording system can allow you to achieve the maximum results from the system. The

module is a mix of theory and practical work. You will engage in a collaborative project working alongside students

from the School’s BA (Hons) Music Production and BMus (Hons) Popular Music Performance courses.

Module Aims

To have a firm grasp of the essential concepts and techniques involved within a typical recording

environment.

To plan, setup and execute practical recording sessions.

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Indicative Study Topics

Microphone application and placement.

Cabling & connection.

Digital audio theory and application.

Recording principals.

Audio recording within a DAW environment.

Project management, trouble shooting and storage mediums.

Teaching & Learning Methods

The component parts of the module will be delivered in small groups in a combined lecture/workshop format. The use

of technology as a teaching tool will be included in the module. Concepts will be explained and demonstrated using

appropriate media such as software and hardware examples, classroom whiteboard, audio recordings, references to

hand outs and web URL’s. Students will be required to form collaborative groups and plan, manage and execute group

portfolio work alongside students from the School’s BA (Hons) Music Production. Performance students from the

School’s BMus (Hons) Popular Music Performance courses will feature in the recordings. Tutorial opportunities exist

whereby students can explore portfolio concepts with their tutor(s).

Learning Outcomes On completion of this module a successful student will be able to:

1. Demonstrate a solid understanding in the use and application of microphones.

2. Evaluate digital audio theory and successfully implement digital audio traits within a contemporary Digital

Audio Workstation.


4. Plan, manage and execute a group work based recording portfolio and trouble shoot basic problems with

limited support.

Assessment No Summative Assessment

Method Length Learning

Outcomes Addressed

Assessment Weighting

Assessment Week

1 Written exam.

15-30 mins

1, 2 30% 10

2 Individual mix down artefact.

3-5 mins 1, 2, 3, 4 50% 30

3 Recording diary.

1000 word critique

1, 2, 3, 4 20% 30

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Assessment Brief

Your work will be assessed according to the below schedule: 1. You will be required to engage in a short written exam that requires you to document various concepts based

around microphone, digital audio and recording based idioms. The tasks will be based upon content covered from

weeks 1-9. This will occur on site under TMS examination conditions. More details will be made available during class time.

2. You will be required to engage in group work to record a piece of music using industry standard recording

hardware and software. Working in groups selected from students on the BA (Hons) in Music Production and/or

the BA (Hons) in Song Writing, you must record a song (original or cover version) with performers staffed from the

School’s BMus (Hons) in Popular Music Performance. In week 20 you will present you ‘work in progress’ to your

tutor and receive feedback. More details will be made available during class time. In week 30 each student must

submit an individual portfolio that contains a final mix down (performed individually) of the group recordings.

Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See

the student handbook for more details. The portfolio will be assessed for two modules on the BA (Hons) Music

Production and/or the BA (Hons) Songwriting. For the ‘Recording Skills’ module the submission will asses aspects

such as the recording quality, sonic character, microphone application, arrangement, performance, instrumental

parts and overall composition (if applicable). For the ‘Mixing & Audio Production 1’ module (or the ‘Music

Technology for Song Writers 1’ module depending on Programme studied) aspects of sonic detail, balance, audio

editing skill, audio aesthetic and general production are assessed. More details will be made available during class

time.

3. Each student must also include within their portfolio an individually authored 1000 word (circa +/- 10%) recording

diary detailing the recording process, the hardware utilised, techniques employed, approach to sonic quality

undertaken and procedures followed. A breakdown of the group’s roles during the recording process must be

included, supported by photographic evidence documenting the techniques used during the recording session.

Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS

VLE. See the student handbook for more details.

40

Assessment Criteria

Outcome Students will be assessed

on their ability to: Assessment method

1. Demonstrate a solid understanding of the functioning principles of microphones.

Select and use applicable microphone techniques with flair within a recording portfolio. Assessment feedback will be subdivided into areas such as:

Sonic Quality.

Microphone Application.

Creative Recording Techniques.

Written exam.

Individual mix down artefact. Recording diary.

2. Evaluate digital audio theory and successfully implement digital audio traits within a contemporary Digital Audio Workstation.

Select, appraise and use applicable digital audio traits within a Digital Audio Workstation. Assessment feedback will be subdivided into areas such as:

Sonic Quality.


Digital Audio Configuration.

Written test. Individual mix down artefact. Recording diary.


Record live performances within a DAW environment. Assessment feedback will be subdivided into areas such as:

Sonic Quality.


Creative Recording Techniques.

DAW Technique.


4. Plan, manage and execute a group work based recording portfolio and trouble shoot basic problems with limited support.

Manage & deliver a project that features a cohesive recorded artefact. Assessment feedback will be subdivided into areas such as:

Project Management.

Presentation.

Data Management.


41

Reading List Core texts: Lesson material provided by TMS. Additional texts: Bartlett, B. (2008) Practical Recording Techniques: The Step- by- Step Approach to Professional Audio Recording,

London: Focal Press

Franz, D. (2008) Recording and Producing in the Home Studio, New York: Hal Leonard Corporation

Huber, D. (2009) Modern Recording Techniques. London: Focal Press.

Howard, D. & Angus, J (2009) Acoustics and Psycho-acoustics, 4th ed. London: Focal Press

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

Limited.

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

Rumsey, F. & McCormack, T. (2009) Sound and Recording, London: Focal Press

Journals / Magazines:

Audio Media. MAS Publishing.

Resolution. S2 Publishing.

Sound on Sound. Future Publishing.

Tape Op. Independently published.

The Mix. Future Publishing.

Web Sites:

Audio Engineering Society. Available at: http://www.AES.org

Audio Forum. Available at: http://audioforum.termpro.com/cgi-bin/ubb/ulimate.cgi

Gearslutz forums. Available at: http://www.gearslutz.com/board/

ProSoundWeb forums. Available at: http://www.prosoundweb.com/forums/

Recording dot org. Available at: http://recording.org/forum.php

Tape Op Message Board. Available at: http://messageboard.tapeop.com/

42

TMSSW401: Songwriting 1

Key Information

Course: BA (Hons) Songwriting BA (Hons) Music Production

Module Code: TMSSW401

Module Level: 4

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Yak Bondy Tutors: Yak Bondy

Module Summary As an essential skill for any artist, music producer or creative musician, songwriting empowers the individual to

develop important musical and lucrative skills sets. You will study and develop the fundamental skills of writing original

songs covering aspects such harmonic progression, melodic contour, lyric creation, rhythmic lyric structure and song

form. Through studying tools and techniques you will learn to write melodies, how melodic rhythm influences rhyme

and the dynamic relationships between melody and harmony. Analysis of popular songs provide a robust approach to

learning this craft. With an emphasis on originality and creativity, students from the School’s BA (Hons) Songwriting

course will study alongside students from the School’s BA (Hons) Music Production.

Module Aims

To diagnose, evaluate and apply songwriting techniques within a portfolio of self authored work.

To begin to build a portfolio of self authored songs with limited independence.

43


Composer and song analysis.

Rhythm and pulse.

Melodic contour and harmonic progression.

Stable and unstable tones.

Phrase length, balance and symmetry.

Harmony and melody dynamic.

Lyric creation and lyrical rhythmic structure.

Song structure and form.

Project management, trouble shooting and creativity.




appropriate media such as musical examples, classroom whiteboard, audio recordings, references to hand outs and

web URL’s. Practical workshops will occur within suitably equipped rooms for relevant sections of the module. Tutorial

opportunities exist whereby students can explore portfolio concepts with their tutor(s).


1. Identify, evaluate and successfully implement songwriting techniques within a portfolio of original material

under guidance.



44

Assessment No Summative

Assessment Method Length Learning

Outcomes Addressed


Assessment Week

1 Song performance.

3-5 mins + 200 word supportive statement

1, 2, 3 30% 10

2 Song performance.


1, 2, 3 30% 20

3 Song performance.


1, 2, 3 40% 30

Assessment Brief Your work will be assessed according to the below schedule:

1. Assessment one features the performance of one original song. In week 5 you must submit a framework for the

song that will eventually be developed across the remainder of term one to represent the completed song for final

assessment. The framework must consist of lyrics, top line melody and rhythm and encapsulate at least two

elements of a song structure (i.e. verse to chorus). More details will be made available during class time. The song

in the final submission must feature at least melody, harmony, rhythm & lyrics based within the popular music

idiom. Each student must engage in working with a tutor managed pool of session musicians supplied by School’s

BMus (Hons) in Popular Music Performance and deliver a performance of the songs in week 9. This engagement

will involve the creation of lead sheets and (with tutor guidance) MD the band to be able to deliver an in School

performance. Attention to detail should be placed on the song form/structure, lyrically content, harmonic

progression, melodic contour and harmonic and melodic dynamic. The performance guidance will be delivered

under supervision from your tutor and the assessed emphasis is placed on song craft, not performance. You must

also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work,

and expands upon the any salient features or specific techniques you have employed. Journalistic writing is

acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student

handbook for more details.

2. Assessment two features the performance of one original song that features a different musical convention (i.e.

harmonic progression, melodic & rhythmic content etc) from assessment one. In week 15 you must submit a

framework for the song that will eventually be developed across the remainder of term two to represent the

completed song for final assessment. The framework must consist of lyrics, top line melody and rhythm and

encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made available

during class time. The song in the final submission must feature at least melody, harmony, rhythm & lyrics based

within the popular music idiom. Each student must engage in working with a tutor managed pool of session

musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of the

songs in week 19. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band

45

to be able to deliver an in School performance. Attention to detail should be placed on the song form/structure,

lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The performance

guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on song craft,

not performance. You must also submit a supporting statement (200 words circa +/- 10%) that documents the

steps taken to create your work, and expands upon the any salient features or specific techniques you have

employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to

the TMS VLE. See the student handbook for more details.

3. Assessment three features the performance of one original song that features a different musical convention (i.e.

harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. In week 25 you

must submit a framework for the song that will eventually be developed across the remainder of term three to

represent the completed song for final assessment. The framework must consist of lyrics, top line melody and

rhythm and encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made

available during class time. The song in the final submission must feature at least melody, harmony, rhythm &

lyrics based within the popular music idiom. Each student must engage in working with a tutor managed pool of

session musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of

the songs in week 29. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the

band to be able to deliver an in School performance. Attention to detail should be placed on the song

form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The

performance guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on

song craft, not performance. You must also submit a supporting statement (200 words circa +/- 10%) that

documents the steps taken to create your work, and expands upon the any salient features or specific techniques

you have employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file

delivered to the TMS VLE. See the student handbook for more details.

46

Assessment Criteria

Outcome Students will be assessed on their ability to:

Assessment method

1. Identify, evaluate and successfully implement songwriting techniques within a portfolio of original material under guidance.

Identify and execute songwriting techniques within a portfolio of original material. Assessment feedback will be subdivided into areas such as:

Melodic Contour.

Harmonic Progression.

Harmony & Melody Dynamic.

Lyrical Aesthetic.

Rhythmic Structure.

Song performance.


Deliver a small repertoire of contrasting original material that demonstrates a strong sense of creativity. Assessment feedback will be subdivided into areas such as:

Lyrical Aesthetic.

Creativity.

Musical Aesthetic.

Rhythmic Structure.

Song performance.


Manage & deliver a project that features a cohesive artefact. Assessment feedback will be subdivided into areas such as:

Project Management.

Presentation.

Creativity.

Song performance.

47

Reading List

Core texts: Lesson material provided by TMS.

Additional texts:

Barlett, B (2003) Bartlett's Roget's Thesaurus London: Little, Brown & Company

Blume, J. (2008) Six Steps to Songwriting Success: The Comprehensive Guide to Writing and Marketing Hit Songs

USA: Billboard

Davis, S. (1992) The Songwriter's Idea Book. London: Omnibus Press

Feist, J Ed (2008) Songwriter's Workshop: Melody New York: Hal Leonard Corporation

Kachulis, J (2008) Songwriter's Workshop: Harmony New York: Hal Leonard Corporation

No Author Stated. (2004) Idioms - Dictionary for Learners of English. Oxford University Press

Pattison, P (1991) Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics New

York: Hal Leonard Corporation

Pattison, P (1992) Songwriting: Essential Guide to Rhyming New York: Hal Leonard Corporation

Pattison, P (2010) Writing Better Lyrics 2nd

edn. New York: F+W Media

Perricone, P. (2000) Melody in Songwriting. USA: Berklee Press Publications

Sullivan, P. (2004) Sullivan’s Music Trivia. New York: Arcane/Sanctuary Publishing Ltd. Stople, A. (2008) Popular Lyric Writing: 10 Steps to Effective Storytelling. USA: Berklee Press Publications

Wood, C (1992) Complete Rhyming Dictionary London: Bantam Doubleday Dell Publishing Group

Journals/Magazines: American Songwriter. American Songspace

Latimer, Len Songwriter Magazine. Own Publication

Songwriting and Composing. The Guild of International Songwriters & Composers

Websites: ISA International Songwriters Association Available at: http://www.songwriter.co.uk/

Independent Songwriter Web Magazine Available at: http://www.independentsongwriter.com

Songwriter Universe Available at: http://www.songwriteruniverse.com/magazine.html

http://www.amazon.co.uk/Jack-Perricone/e/B001ILKFXM/ref=ntt_athr_dp_pel_1

48

TMSSW402: Song Stylistics

Key Information

Course: BA (Hons) Songwriting


Module Level: 4

Module Credits: 20



Teaching & Learning





Module Summary Most successful writers working within the industry not only have developed their own unique personal approach to

writing but they also have a robust understanding of working in a myriad of styles. This module gives you the

opportunity to explore specific composition and arranging techniques when working in a wide range of genres. Not

only will this allow you to more fully understand the mechanics of songwriting but it will also provide you with a

heightened ability when working within your own favourite style.

Module Aims

To identify and apply songwriting techniques when working within a specific stylistic brief and to maintain

originality throughout.

To critique, appraise and justify the use of a myriad of songwriting techniques applied when working within

a stylistic portfolio of songs.

49


Stylistic analysis.

Harmonic & melodic stylistic conventions.

Rhythmic conventions.

Lyrical facets when working within a style.

Selecting and applying stylistic conventions.

Working to a brief.

Maintaining originality.

Critique and justification.


Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. The use





Learning Outcomes

On completion of this module a successful student will be able to:

1. Identify stylistic song traits utilised within the pop music idiom.

2. Apply a myriad of appropriate songwriting techniques when constructing original material to a stylistic brief.

3. Appraise and justify a selection of songwriting traits utilised within a stylistic brief.

4. Plan, manage and execute a portfolio of original songs constructed to a stylistic brief and trouble shoot

problems with limited support.

50

Assessment

No Summative Assessment Method

Length Learning Outcomes Addressed


Assessment Week

1 Stylistic analysis. 1000 word critique

1, 3 40% 20

2 Song performance.

3-5 mins x2 artefacts

2, 4 60% 30


1. You will be required to submit a 1000 word critique (circa +/- 10%) of two stylistically contrasting songs (i.e.

different genres) from within the same style and provide analyse of the songwriting techniques utilised. Your

work should provide a breakdown of the musical aesthetic of the pieces, their rhythmic properties, their song

form and structure, aspects of harmonic progression and melodic contour, the dynamic relationship between

harmony and melody and the lyrical content. Journalistic writing is acceptable but referencing is expected.

Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. Assessment two features the submission of a portfolio of two contrasting original songs, written to a brief.

Early in term one your tutor will give you a list of ‘specifications’ from which you can select from. Your artefact

needs to conform to the overarching brief that you have selected (i.e. RnB, Blues, Country, Rock etc). In week

10 you must submit a framework for one of the song’s that will eventually be developed across the terms to

represent part of the portfolio of two completed songs for the final assessment. The framework must consist of

lyrics, top line melody and rhythm and encapsulate at least two elements of a song structure (i.e. verse to

chorus). More details will be made available during class time. The framework should be utilised for one of the

songs for the final submission but there is scope of adaptation and alteration of their content from the week 10

submission. Each song in the final submission must feature at least melody, harmony, rhythm & lyrics based


musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of both

songs in week 30. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the

band to be able to deliver an in School performance. Attention to detail should be placed on the musicality of

the piece and the stylistic convention covering aspects such as tonal phrases, dynamic and pulse, structure,

lyrically content, harmonic progression and harmonic and melodic dynamic. The performance guidance will be

delivered under supervision from your tutor and the assessed emphasis is placed on song craft, not

performance.

51

Assessment Criteria


Assessment method

1. Identify stylistic song traits utilised within the pop music idiom.

Assess stylistic songwriting traits utilised within pop formats. Assessment feedback will be subdivided into areas such as:

Critique.

Musical Analysis.

Research.

Literacy.

Presentation.

Stylistic analysis.

2. Apply a myriad of appropriate songwriting techniques when constructing original material to a stylistic brief.

Construct a stylistic appropriate song portfolio. Assessment feedback will be subdivided into areas such as:

Stylistic Aesthetic.

Lyrical Aesthetic.

Brief Convention.

Tonality & Melody.

Harmonic and Melodic Dynamic.

Structure & Form.

Song performance.

3. Appraise and justify a selection of songwriting traits utilised within a stylistic brief.

Present a critique of externally authored work. Assessment feedback will be subdivided into areas such as:

Critique.

Musical Analysis.

Research.

Literacy.

Presentation.

Stylistic analysis.

4. Plan, manage and execute a portfolio of original songs construct to a stylistic brief and trouble shoot problems with limited support.



Lyrical Aesthetic.

Brief Convention.

Project Management.

Song performance.

52

Reading List Core texts: Lesson material provided by TMS. Additional texts:

Hodkinson, P & Bennet, A. (2012) Ageing and Youth Cultures: Music, Style and Identity. New York: Berg Publishers

Powell, J. (2012) Music, Fashion and Style. London: Franklin Watts

Said, E.W. (2007) On Late Style: Music and Literature Against the Grain. London: Bloomsbury

Horn, D & Shepherd, J. (2013) Continuum Encyclopedia of Popular Music of the World. London: Continuum

Journals/Magazines:

Echoes - Black Music Monthly. Bluespot Network

Froots - The Essential Folk, Roots and World Music Guide. Southern Rag

Jazzwise. Jazzwise Publications Ltd.

Kerrang. Bauer Media

Mojo. Bauer Media

NME. IPC Media

The Wire. The Wire Magazine Ltd.

Songlines. Songlines Publishing Ltd.

KMag. Phoenix Publishing

Websites: Clash Music Available at: http://www.clashmusic.com/

Dazed Digital Available at: http://www.dazeddigital.com

i-D Online Available at: http://www.i-dmagazine.com

53

TMSSW403: Music Technology for Songwriters 1

Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Johan Englund Tutors: Johan Englund

Module Summary This module explores the use of music technology with a focus on the Digital Audio Workstation. Mixing, digital audio

manipulation and processing will be explored with an emphasis on creativity and originality. This subject represents an

important assets of every writer’s tool box – the ability to self produce their own material. This module explores the use

of software idioms within music production with a focus on MIDI based systems. You will explore relevant platforms

utilised within the industry, with an emphasis on utilising these tools within a creative framework. Mixing, digital audio

manipulation and processing will be explored with an emphasis on creativity and originality. You will explore relevant

techniques utilised within the industry allowing you to build skill sets for further development at level 5 (year 2).

54

Module Aims

To provide a solid understanding of the basic concepts of MIDI sequencing software environments within

the music production idiom.

To provide a solid understanding of basic mixing techniques, their concepts and application.

To exercise musical creativity via audio editing techniques.


MIDI sequencing techniques.

Virtual instruments.

MIDI protocol and editing.

Digital audio editing and manipulation.

Creating a mix down artefact.

Being creative within a software environment.




of technology as a teaching tool will be included in the module. Each student will have access to their own Apple Mac

workstation running industry standard hardware and software (when appropriate). Overhead projection will be used to

deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using


hand outs and web URL’s. A portion of each week’s class will be reserved as a workshop whereby students can

explore and develop skills on their individual workstation under tutor supervision. The workshops will allow students to

build confidence across the course of the semester.

Learning Outcomes


1. Apply sequencing techniques within a software environment. 2. Perform musically applicable edits upon digital audio content.

3. Develop a creative approach to mix down schematics. 4. Plan, manage and execute a music production artefact and trouble shoot basic problems with limited support.

55



Outcomes Addressed


Assessment Week

1 Practical exam. 15-30 mins

1 30% 10

2 Individual mix down artefact.

3-5 mins

2, 3, 4 50%

30

3 Mixing critique. 1000 word critique

2, 3, 4 20%

30


1. You will be required to engage in a short practical exam that requires you to complete a series of music

technology based tasks. The tasks will be based upon content covered from weeks 1-9. This will occur on site

under TMS examination conditions. More details will be made available during class time.

2. You will be required to engage in group work to record a piece of music using industry standard recording

hardware and software. Working in groups selected from students on the BA (Hons) in Music Production

and/or the BA (Hons) in Song Writing, you must record a song (original or cover version) with performers

staffed from the School’s BMus (Hons) in Popular Music Performance. In week 20 you will present you ‘work

in progress’ to your tutor and receive feedback. More details will be made available during class time. In week

30 each student must submit an individual portfolio that contains a final mix down (performed individually) of

the group recordings. Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to the TMS

assessment server. See the student handbook for more details. The portfolio will be assessed for two modules

on the BA (Hons) Music Production and/or the BA (Hons) Songwriting. For the ‘Recording Skills’ module the

submission will asses aspects such as the recording quality, sonic character, microphone application,

arrangement, performance, instrumental parts and overall composition (if applicable). For the ‘Mixing & Audio

Production 1’ module (or the Music Technology for Songwriters 1’ module depending on Programme studied)

aspects of sonic detail, balance, audio editing skill, audio aesthetic and general production are assessed.

More details will be made available during class time.

3. Each student must also include within their portfolio an individually authored 1000 word (circa +/- 10%) mixing

critique detailing the mixing process, the hardware utilised, mixing techniques employed, audio editing

undertaken and procedures followed. A breakdown of the mixing process must be included, supported by

photographic evidence and/or screen grabs documenting the techniques used during the mixing session.

Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the

TMS VLE. See the student handbook for more details.

56

Assessment Criteria



1. Apply sequencing techniques within a software environment.

Construct applicable sequencing and techniques with flair within a software environment. Assessment feedback will be subdivided into areas such as:

Sequencing Techniques.

MIDI Region Manipulation.

Creative Interpretation.

MIDI Data Editing.

Practical exam.

2. Perform musically applicable edits upon digital audio content.

Perform and execute musically appropriate edits upon digital audio content. Assessment feedback will be subdivided into areas such as:

Audio Manipulation.

Audio Editing Techniques.

Individual mix down artefact. Mixing critique.

3. Develop a creative approach to mix down schematics.

Construct musically applicable mixes with flair. Assessment feedback will be subdivided into areas such as:

Mix Aesthetic.

Creative Application.


4. Plan, manage and execute a music production artefact and trouble shoot basic problems with limited support.

Manage & deliver a project that features a cohesive musical artefact. Assessment feedback will be subdivided into areas such as:

Problem Solving.

Presentation.

Data Management.


57

Reading List Core texts: Lesson material provided by TMS. Additional texts:

Izhaki, R. (2007) Mixing Audio: Concepts, Practices and Tools. London: Focal Press.

Gibson, D. (2008) The Art of Mixing: A Visual Guide to Recording, Engineering and Production, 2nd

ed. New York:

artistpro.com LLC

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

Massey, H. (2009) Behind the Glass 2. San Francisco: Backbeat Books.

Moylan, W. (2007) Understanding and Crafting the Mix: The Art of Recording, 2nd

ed. London: Focal Press.

Owsinski, B. (2006) The Mixing Engineer’s Handbook. New York: Music Sales Limited.

Senior, M. (2011) Mixing Secrets for the Small Studio. London: Focal Press

Journals/Magazines:

MusicTech - Anthem Publishing Ltd.

Sound On Sound. SOS Publications Group

FutureMusic. Future Publishing Ltd.

Electronic Musician. New Bay Media

Websites: AudioTechnology Available at: http://www.audiotechnology.com.au/

Mix - Professional Audio and Music Production Available at http://www.mixonline.com/

58

TMSSW404: Musicianship

Key Information

Course:


BA (Hons) Music Production


Module Level: 4

Module Credits: 20



Teaching & Learning

Lectures: 2 x 1 hour lectures per week for 27 weeks (54 hours)


Personal Development Time: 145 hours

Module Leader & Tutors

Module Leader: Richard Lightman

Tutors: Richard Lightman / Glen Rayner

Module Summary

Musicianship supports the development of skills in key areas: music theory, ear training, production analysis and song

analysis. In theory and ear training classes you will consider key theoretical concepts and their application in popular

music including interval and chord identification and harmony, rhythm and pulse and chord/scale relationships. You will

also study concepts of production aesthetic in order to develop your own production style and song analysis that

allows the development of songwriting skills via the critique of commercial material. You will study alongside students

from the School’s BA (Hons) Music Production or the School’s BA (Hons) Songwriting. All disciplines will benefit from

the study of these subjects as they provide a framework for developing creative musical aspects such as songwriting

alongside developing the musical communication skills necessary as an artist, creative musician or music producer.

These concepts are expanding upon at level 5 in the ‘Arranging’ module, which explores orchestration, arranging and

instrumentation.

59

Module Aims

To create a solid grounding in music theory which will support the student’s technical, theoretical and creative

development throughout the course.

Assemble a range of critical listening skills that instil the ability to critique a variety of songwriting and music

production techniques.


Key signatures, intervals, major/minor scales.

Rhythm, pulse and meter.

Modes and harmonised scales.

Chord substitutions.

Basic transcription.

Critical listening.

Genre based song analysis.

Production based song analysis.

Sonic and musical aesthetic critique.


The module will be delivered in small groups in a combined lecture/workshop format. Concepts will be explained and

demonstrated using appropriate media such as classroom whiteboard, audio recordings, and references to hand outs.

Student interaction will be encouraged in the form of discussions and Q&A. Assignments will be set during class time

and for homework. During class-based assignments the tutor will spend time with individual students and give

feedback. Students will also be encouraged to evaluate their and their colleague’s work under guidance by the tutor.

Advice will also be given on time management and employing effective study/practice routines.

60

Learning Outcomes


1. Demonstrate an understanding of key theoretical concepts by constructing basic musical structures in a limited

timeframe.

2. Analyse and interpret basic musical structures in a limited timeframe.

3. Identify and provide critique upon a myriad of music production techniques and their role within the aesthetic

of the studied material.

4. Identify and provide critique upon a myriad of songwriting techniques and their role within the aesthetic of the

studied material.

Assessment

No Summative

Assessment Method

Length Learning

Outcomes

Addressed

Assessment

Weighting

Assessment

Week

1 Theory & Aural

assessment.

1 hour

timed

assessment

1, 2 30% 19

2 Theory & Aural

assessment.

1 hour

timed

assessment

1, 2 30% 29

3 Song and Production

Critique.

1500 words

3, 4 40% 29

Assessment Brief

Your group work will be assessed according to the above schedule.

1. In week 19 you will be required to sit a written Theory & Aural exam to demonstrate understanding of the

subject material covered during weeks 1-19. This will occur on site under TMS examination conditions. More

details will be made available during class time.

2. You will be required to sit a written Theory & Aural exam to demonstrate understanding of the subject material

covered during weeks 1-29. This will occur on site under TMS examination conditions. More details will be

made available during class time.

61

3. Assessment three features the submission of a 1500 word (circa +/- 10%) critique investigating the musical

output of one piece of work from the repertoire of a commercial music producer (i.e. Phil Spector) and the

musical output of one piece of work from repertoire of a commercial songwriter (i.e. John Lennon). During

class time a list of individuals that you may critique will be distributed. Place attention to detail within your

critique upon aspects such as production, recording and mixing technique(s), the sonic aesthetic to the

piece(s), songwriting and composition technique(s), lyrical content, harmonic progression, rhythmic structure,

melodic contour, harmonic and melodic dynamic, performance traits and emotional expression. Journalistic

writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See

the student handbook for more details.

Note for marking of A1 & A2

Due to the nature of the subject material, assignments will be marked according to a pre-determined template that has

been prepared in line with teaching and learning methods throughout the course. Each component of the assessment

will therefore only produce a correct or incorrect answer. The number of correct answers will then be accumulated to

give a percentage score

62

Assessment Criteria


on their ability to:

Assessment

method

1. Demonstrate an understanding

of key theoretical concepts by

constructing basic musical

structures in a limited

timeframe.

Answer given exam questions that

highlight fundamental areas of music

theory and ear training.

Theory & Aural

assessment)

2. Analyse and interpret basic

musical structures in a limited

timeframe.

Answer given exam questions that

highlight fundamental areas of music

theory and ear training.

Theory & Aural

assessment.

3. Identify and provide critique

upon a myriad of music

production techniques and

their role within the aesthetic

of the studied material.

Investigate and provide critique on the

working techniques and methods of a

selected producer.

Assessment feedback will be

subdivided into areas such as:

Content.

Analysis.

Literacy.

Referencing.

Bibliography.

Presentation.

Song and

Production

Critique.

4. Identify and provide critique

upon a myriad of songwriting

techniques and their role

within the aesthetic of the

studied material.

Investigate and provide critique on the

working techniques and methods of a

selected songwriter.

Assessment feedback will be

subdivided into areas such as:

Content.

Analysis.

Literacy.

Referencing.

Bibliography.

Presentation.

Song and

Production

Critique.

63

Reading List


Additional texts: Stewart, D. (2006) The Musicians guide to reading and writing music. New York: Backbeat Books Stewart, D. (2000) The Musicians guide to Composition, Improvisation and the Mechanics of Music. New York: Backbeat Books Taylor, E. (1989) The AB Guide to Music Theory Part 1 (and Part 2) London: Associated Board Wyatt, K. and Schroeder, C. (1998) Harmony & Theory. London: Hal Leonard.

Journals/Magazines: Journal of Music Theory. Duke University Press

Websites:

Musicians Together Available at: http://musicianstogether.com

64

TMSMB403: Music Industry Landscape

Key Information

Course:

BA (Hons) Music Business BA (Hons) Songwriting BA (Hons) Music Production BMus (Hons) Popular Music Performance

Module Code: TMSMB403

Module Level: 4

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Harry Leckstein Tutor(s): Harry Leckstein Module Summary The module gives you the opportunity to study the fundamental aspects of the music industry. The aim of this module

is to for you to have an understanding of the historical and contemporary structure of the music industry including

learning the roles of key stakeholders and providers within it and how those roles are constantly adapting to market

pressures brought about by advances in new technology. Treating the industry as a set of related smaller

organisations and structures this module studies aspects such as the facilitating of licensing, marketing, promotion,

distribution, selling and production of music related product. You will learn to apply study skills, basic research and

academic writing techniques. You will study alongside students from the School’s BA (Hons) Music Production and BA

(Hons) Songwriting courses.

65

Module Aims

To provide the student with a comprehensive and thorough examination of the historical and contemporary

landscape of the music industry and to identify the key stakeholders and providers within the industry.

To identify what roles stakeholders embody within the industry and how they interconnect to form a seamless

food chain from artist to consumer through multiple media formats.

To develop a solid understand of academic writing conventions and apply these to a written case study.


The historical evolution of music as an industry.

The food chain of production, distribution, marketing and sales.

Sales and distribution of recorded media.

Promotion of recorded media, live performance and live events.

Major and independent record label structure.

Royalty collection and distribution.

Financial flow through the music industry.

Publishing – the mechanics and the variables.

The role of new technologies within the music industry.

Artist and Repertoire and the production of new artists and media.

Social, political and cultural impact of music.

Academic writing conventions.

The Harvard Convention

Citations and bibliographies.

Presenting your written work.


The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range

of teaching methods including seminars, tutorials, group-work (including presentations) and computer-assisted

learning with be utilised. There will be an opportunity for you to discuss and analyse you own examples and research.

The use of technology as a teaching tool will be included in the module. Overhead projection will be used to deliver

lecture content via tutor authored E-Learning tools (when appropriate). Concepts will be explained and demonstrated

using appropriate media such as theoretical examples, classroom whiteboard, audio recordings, references to hand

outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasize

application of content.

You will examine the development, structure, roles and functions of the music industry and the history of the formation

of national and international companies and the roles of key external agencies through a series of lectures. You will

undertake lecturer-monitored research to investigate examples of contemporary industry practice and which will form

the basis of seminar presentations and discussion. The strategy is for learning to become less prescriptive as the

module progresses and for you to develop critical autonomy via independent work and enquiry-based learning.

66

Students will be set weekly research-based tasks as preparation for a formative assessment. Class-based critical

analysis, presentation and discussion within a seminar environment will occur and tutors will provide feedback on the

work presented.

Learning Outcomes


1. Analyse the internal structure, operation and output of a music organisation and produce a well-structured

case study.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI,

PRS for Music, PPL).


4. Demonstrate an appropriate level of reading and research, demonstrating appropriate academic conventions.

Assessment

No Assessment Method



Formative/ Summative

Assessment Week

1 Study skills exam.

30 min exam

4 10% Summative 10

2 Written exam.

1.5 hour exam

2, 3 50% Summative 20

3 Essay. 1000 words


67

Assessment Brief Your group work will be assessed according to the below schedule:

1. In week 10 you will be required to sit a short exam based on aspects of academic writing, research,

referencing and study skills that are studied in weeks 1-9. This will occur on site under TMS examination

conditions. More details will be made available during class time.

2. You will be required to sit a written exam to demonstrate understanding of the subject material covered during

weeks 1-19. This will include analysis of the work of key external agencies that have an active role within the

industry and to evaluate the importance of copyright in the industry. This will occur on site under TMS

examination conditions. More details will be made available during class time.

3. Assessment three features the submission of a 1000 word (circa +/- 10%) case study investigating a

contemporary music industry organisation. During class time a list of suitable organisations will be discussed

by your tutor. Students will be set weekly research-based tasks as preparation for the assessment: class-

based critical analysis, presentation and discussion within a seminar environment will occur and tutors will

provide feedback on the work presented. Place attention to detail within your case study upon aspects such as

role, organisational structure, influence, historical context, purpose and methodology of the organization within

its place in the music industry food chain. Your paper must follow standard academic conventions (i.e. third

person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See

the student handbook for more details.

68

Assessment Criteria


Assessment method

1. Analyse the internal structure, operation and output of a music organisation and produce a well-structured case study.

Identify the key structures of a major music organisation. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Essay.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

Diagnose and appraise the role of key external agencies that exercise an active role within the music industry Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.


Illustrate the role and value of copyright. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

4. Engage in an appropriate level of reading and research, demonstrating appropriate academic conventions.

Present an analysis of a music industry organisation. Assessment feedback will be subdivided into areas such as:

Content.

Literacy.

Referencing.

Bibliography.

Presentation.

Study skills exam. Essay.

69

Reading List

Core texts:

Lesson material provided by TMS.

Additional Texts:

(2004). The Music Management Bible. London: Sanctuary

(2011). The Unsigned Guide 2011 (UK Edition). Manchester: MCR Music

Ashurst, W. (2006). Stuff the Music Business: the DIY guide to making it London. Sanctuary

Bowden, G. Allen, J, O’Toole, W. (2010) Events Management. UK Butterworth-Heinemann

Bolles, R (2011). What Color Is Your Parachute? 2012: A Practical Manual for Job-Hunters and Career-Changers:

40th Anniversary Edition. London. Ten Speed Press

Conway, D. (2009) The Event Manager's Bible: The Complete Guide to Planning and Organising a Voluntary or Public

Event London, How To Books Ltd

Davis & Scase (2000). Managing Creativity. Oxford: Open University Press

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

Handy, C (1997). The Hungry spirit. London: Penguin

Handy, C, (2000). The Gods of Management. London: Penguin

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

Innes, J. (2009) The Interview Book: Your Definitive Guide to the Perfect Interview Technique London. Prentice Hall

Gammons, H (2011). The Art of Music Publishing: An entrepreneurial guide to publishing and copyright for the music,

film and media industries. USA: Focal

Godin, S, (1999). Permission Marketing: Turning Strangers Into Friends And Friends Into Customers. New York:

Simon & Schuster.

Godin, S, (2008). Tribes: We Need You to Lead Us. New York: Portfolio.

Goldstein, P. (1998). Copyright Highway. London: Routledge

Lathrop, T. (2003). This Business of Music Marketing & Promotion USA Billboard Books

Lees, J. (2010) How to Get a Job You'll Love 2011-2012 Edition. London McGraw-Hill Professional

Kao, J. (1998). Entrepreneurship, Creativity and Organisation. Prentice Hall

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

Press

Mills, C. (2009) You're Hired! CV: How to write a brilliant CV London. Trotman

Napier-Bell, S (2007). Black Vinyl White Powder London: Ebury

Negus, K. (1999). Music Genres and Corporate Cultures. London: Routledge

Passman, D. (2007). All you need to know about the music business, UK Edition London: Penguin

Rudsenke, J.S, (2005). Start an Independent Record Label (Music Business Made Simple). New York: Schirmer

Books

Shemel, S. Gross, J. Krasilovsky, W. (2007) The Business of Music USA: Watson-Guptill

Shone, A. Pary, B (2010) Successful Event Management. UK CENGAGE Lrng Business Press

Shuker, R (2007). Understanding Popular Music Culture: UK Routledge

Wikstrom, P (2010). The Music Industry: Music in the Cloud (DMS - Digital Media and Society). Cambridge: Polity

B2B / Crowd Sourcing Websites:

Reverbnation Available at: http://www.reverbnation.com

Soncibids Available at: http://www.sonicbids.com

http://www.reverbnation.com/

http://www.sonicbids.com/

70

Spreadshirt Available at: http://www.spreadshirt.co.uk

Big Cartel Available at: http://bigcartel.com

Kickstarter: Available at: http://www.kickstarter.com

Pledge Music: Available at: http://www.pledgemusic.com

Sellaband: Available at: http://www.sellaband.com

Slicethepie: Available at: http://www.slicethepie.com

Music Blogs:

17 seconds Available at: http://www.17seconds.co.uk

Abeano Music Available at: http://www.abeano.com

Ankia in London Available at: http://www.anikainlondon.com

Bass Music Available at: http://www.bassmusicblog.com

Battery in your Leg Available at: http://batteryinyourleg.com

Bitter Fingers Available at: http://bitterfingers.net

Black Plastic Available at: http://www.blackplastic.co.uk

Breaking More Waves Available at: http://breakingmorewaves.blogspot.com

Cats band crushes Available at: http://www.catsbandcrushes.com

Chemisty is Dead Available at: http://thechemistryisdead.com

Crack in the Road Available at: http://www.crackintheroad.com

Devil has the Best Tuna Available at: http://besttuna.blogspot.com

Dots and Dashes Available at: http://www.dotsanddashes.co.uk

Dummy Available at: http://www.dummymag.com

Faded Glamour Available at: http://www.fadedglamour.co.uk

Flying with Anna Available at: http://flyingwithanna.wordpress.com

For Folk's Sake Available at: http://www.forfolkssake.com

Fucking Dance Available at: http://www.fuckingdance.blogspot.com

Hotcakes Available at: http://likehotcakes.net

Illegal Tender Available at: http://illegaltendermagazine.blogspot.com

Moleskin 90 Available at: http://moleskin90.blogspot.com

Music like Dirt Available at: http://www.musiclikedirt.com

Music Liberation Available at: http://www.musicliberation.blogspot.com

Pigeon Post Available at: http://thepigeonpost.wordpress.com

Put Me On It Available at: http://www.putmeonit.blogspot.com

Real Horrorshow Tunes Available at: http://horrorshowtunez.wordpress.com

Rich Hughes Available at: http://richardjlhughes.co.uk

Song by toad Available at: http://songbytoad.com

Swear I'm Not Paul Available at: http://www.swearimnotpaul.com

The Music Journal Available at: http://the-music-journal.blogspot.com

This Music Wins Available at: http://www.thismusicwins.com

Transparent Available at: http://www.transparentblog.com

We Write Lists Available at: http://www.wewritelists.com

Wears The Trousers Available at: http://www.wearsthetrousers.com

What's The Ruckus Available at: http://www.whatstheruckus.com

When you Awake Available at: http://whenyouawake.com

http://www.spreadshirt.co.uk/

http://bigcartel.com/

http://www.kickstarter.com/

http://www.pledgemusic.com/

http://www.sellaband.com/

http://www.slicethepie.com/

http://www.17seconds.co.uk/

http://www.abeano.com/

http://www.anikainlondon.com/

http://www.bassmusicblog.com/

http://batteryinyourleg.com/

http://bitterfingers.net/

http://www.blackplastic.co.uk/

http://breakingmorewaves.blogspot.com/

http://www.catsbandcrushes.com/

http://thechemistryisdead.com/

http://www.crackintheroad.com/

http://besttuna.blogspot.com/

http://www.dotsanddashes.co.uk/

http://www.dummymag.com/

http://www.fadedglamour.co.uk/

http://flyingwithanna.wordpress.com/

http://www.forfolkssake.com/

http://www.fuckingdance.blogspot.com/

http://likehotcakes.net/

http://illegaltendermagazine.blogspot.com/

http://moleskin90.blogspot.com/

http://www.musiclikedirt.com/

http://www.musicliberation.blogspot.com/

http://thepigeonpost.wordpress.com/

http://www.putmeonit.blogspot.com/

http://horrorshowtunez.wordpress.com/

http://richardjlhughes.co.uk/

http://songbytoad.com/

http://www.swearimnotpaul.com/

http://the-music-journal.blogspot.com/

http://www.thismusicwins.com/

http://www.transparentblog.com/

http://www.wewritelists.com/

http://www.wearsthetrousers.com/

http://www.whatstheruckus.com/

http://whenyouawake.com/

71

Newsletters:

Bilboard.biz Available at: http://www.billboard.biz

Brands Bands Fans Available at: http://www.brandsbandsfans.com

Holzman Solutions Available at: http://www.holzmansolutions.com

Mi2N Available at: http://www.mi2n.com

Musictank Available at: http://www.musictank.co.uk

Popbitch Available at: http://www.popbitch.com

Social Networking Websites:

2nd

Life Available at: http://secondlife.com

Bandcamp Available at: http://bandcamp.com

Bebo Available at: http://www.bebo.com

Facebook Available at: http://www.facebook.com

Habbo Hotel Available at: http://www.habbo.com

Myspace Available at: http://www.myspace.com

Remotegoat Available at: http://www.remotegoat.co.uk

Soundcloud Available at: http://soundcloud.com

Twitter Available at: http://www.twitter.com

Wordpress: Available at: http://wordpress.org

http://www.billboard.biz/

http://www.brandsbandsfans.com/

http://www.holzmansolutions.com/

http://www.mi2n.com/

http://www.musictank.co.uk/

http://www.popbitch.com/

http://secondlife.com/

http://bandcamp.com/

http://www.bebo.com/

http://www.facebook.com/

http://www.habbo.com/

http://www.myspace.com/

http://www.remotegoat.co.uk/

http://soundcloud.com/

http://www.twitter.com/

http://wordpress.org/

72


Level 5

73


Key Information



Module Level: 5

Module Credits: 20

Pre-requisite module or learning: TMSSW401 Songwriting 1

Module type:

Depending on programme: Mandatory: BA (Hons) Songwriting Optional: BA (Hons) Music Production

Teaching & Learning




Module Leader & Tutors Module Leader: Victy SIlva Tutors: Victy Silva

Module Summary Song composition and development will be explored to a greater depth in this module that continues from previously

studied material. The module will focus on the advanced remit of traits such as creative approach, tonal phrases,

resolution, structure tones and embellishments, melodic placements, harmonic and melodic interplay and structure

variety. Exploring existing commercial material to a heightened level will provide a comparative backdrop to your own

work. Critique of musical work is an extremely important skill whether it is applied to your own output or that of others.

This module will allow you to build critical reflection skills that can be applied to your own portfolio, or that of your

peers, and therefore strengthen that material. Once again, you will study alongside students from the School’s BA

(Hons) in Songwriting course or the School’s BA (Hons) in Music Production.

74

Module Aims

To formulate a robust knowledge of song writing techniques utilised within the popular music idiom and to

exercise these techniques within a portfolio of work with creativity and flair.

To deliver a portfolio of self authored song material to a high standard, under limited guidance.


Advanced composer and song analysis.

Open and closed tonal phrases.

Stress an unstressed content.

Masculine and feminine.

Resolution.

Pivotal chord modulation.

Harmonic journeys and cadences.

Unmatched phrases.

Structure tones and embellishing tones.

Phrase acceleration & deceleration.

Melodic placements and pickups.

Structure fragmentation, symmetry and variety.

Critique and analysis.

Peer analysis and feedback.

Project management, troubleshooting and creativity.






75


1. Appraise a myriad of songwriting techniques and apply them into a self constructed portfolio of original

material with limited support.

2. Construct unique self-authored musical material and further build an identifiable repertoire of original material,

with an emphasis on creativity.


Assessment

No Summative


Outcomes Addressed


Assessment Week

1 Song performance.


1, 2, 3 30% 10

2 Song performance.


1, 2, 3 30% 20

3 Song performance.


1, 2, 3 40% 30


1. Assessment one features the performance of one original song. In week 5 you must submit a framework for the

song that will eventually be developed across the remainder of term one to represent the completed song for final

assessment. The framework must consist of lyrics, top line melody and rhythm and encapsulate at least two

elements of a song structure (i.e. verse to chorus). More details will be made available during class time. The song

in the final submission must feature at least melody, harmony, rhythm & lyrics based within the popular music

idiom. Each student must engage in working with a tutor managed pool of session musicians supplied by School’s

BMus (Hons) in Popular Music Performance and deliver a performance of the songs in week 9. This engagement


performance. Attention to detail should be placed on the song form/structure, lyrically content, harmonic

progression, melodic contour and harmonic and melodic dynamic. The performance guidance will be delivered

under supervision from your tutor and the assessed emphasis is placed on song craft, not performance. You must

also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work,

and expands upon the any salient features or specific techniques you have employed. Journalistic writing is

76

acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student



harmonic progression, melodic & rhythmic content etc) from assessment one. In week 15 you must submit a

framework for the song that will eventually be developed across the remainder of term two to represent the

completed song for final assessment. The framework must consist of lyrics, top line melody and rhythm and

encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made available

during class time. The song in the final submission must feature at least melody, harmony, rhythm & lyrics based


musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of the

songs in week 19. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band

to be able to deliver an in School performance. Attention to detail should be placed on the song form/structure,

lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The performance

guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on song craft,

not performance. You must also submit a supporting statement (200 words circa +/- 10%) that documents the


employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to



harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. In week 25 you

must submit a framework for the song that will eventually be developed across the remainder of term three to

represent the completed song for final assessment. The framework must consist of lyrics, top line melody and

rhythm and encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made

available during class time. The song in the final submission must feature at least melody, harmony, rhythm &

lyrics based within the popular music idiom. Each student must engage in working with a tutor managed pool of

session musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of

the songs in week 29. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the

band to be able to deliver an in School performance. Attention to detail should be placed on the song

form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The

performance guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on

song craft, not performance. You must also submit a supporting statement (200 words circa +/- 10%) that

documents the steps taken to create your work, and expands upon the any salient features or specific techniques

you have employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file

delivered to the TMS VLE. See the student handbook for more details.

77

Assessment Criteria


Assessment method

1. Appraise a myriad of songwriting techniques and apply them into a self constructed portfolio of original material with limited support.

Assess and integrate songwriting techniques into a robust body of work. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Tonal Phrases.

Melodic Placement.

Harmonic and Melodic Interplay.

Structural Form, Variety & Resolution.

Rhythmic Structure.

Song performance.

2. Construct unique self-authored musical material and further build an identifiable repertoire of original material, with an emphasis on creativity.

Build content that reflects an individual personal style. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Tonal Phrases.

Melodic Placement.

Harmonic and Melodic Interplay.

Structural Form, Variety & Resolution.

Rhythmic Structure.

Song performance. .



Project Management.

Presentation.

Creativity.

Song performance.

78

Reading List


Additional texts:

Edwards, M. (2011) Algorithmic Composition: Computational Thinking in Music London: Communications of the ACM

Kushner, D. (2010) Genius Composition Boston: Boston Magazine

Pattison, P (1991) Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics New

York: Hal Leonard Corporation

Pattison, P (1992) Songwriting: Essential Guide to Rhyming New York: Hal Leonard Corporation

Perricone, P. (2000) Melody in Songwriting. USA: Berklee Press Publications

Reynolds, T. (2005) I Hate Myself and Want to Die. London: Sanctuary

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

Journals/Magazines:

Film Music Magazine. Global Media

Music Analysis. Blackwell Publishing Ltd.

Websites:

The Guild of International Songwriters & Composers Available at: http://www.songwriters-guild.co.uk/

http://www.amazon.co.uk/Jack-Perricone/e/B001ILKFXM/ref=ntt_athr_dp_pel_1

79


Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning





Module Summary

Building upon previously explored concepts, Music Technology for Songwriters 2 further expands skill sets applicable

to music production via the study of advanced mixing traits, audio processing and mastering. Aspects such as multi

track mixing on a multitude of hardware and software platforms are further explored allowing you to develop your

mixing skills. Audio processing within the digital realm present the creative musician with many exciting opportunities.

These are exploited with an emphasis on creativity and originality. Mastering represents a key stage in the process of

music production and its aesthetics are discussed allowing you to successfully deliver a broadcast ready final artefact.

Module Aims

To further develop a cohesive, professional mix down artefact which exhibits mastering traits that are

suitable for broadcast platforms.

To implement advanced audio processing, editing and manipulation constructs with an emphasis on

originality and creativity.

80


Mixing: environments and techniques.

Audio processing.

Digital audio editing and manipulation for music projects.

Mastering for broadcast.

Industry protocols.











1. Produce a high quality mix down artefact that has an emphasis on musical aesthetic.

2. Apply audio manipulation, editing and processing techniques with creativity.

3. Create broadcast ready mastered artefacts within industry standard protocols.

4. Plan, manage and execute both mix down artefacts and mastered artefacts and trouble shoot basic problems

with limited support.

81



Outcomes Addressed


Assessment Week

1 Deliver a final mastered artefact.

3-5 mins

1, 2, 3, 4 60%

30

2 Production critique. 1500 word critique

1, 2, 3, 4 40%

30

Assessment Brief Your work will be assessed according to the below schedule: 1. You will be required to produce a piece of music and submit a mix down artefact generated using industry

standard recording hardware and software. The musical piece must be an original composition (from any genre)

which features a mix of sounds sourced from recordings of instruments and / or hardware and software

synthesizers and samplers. The final mix down artefact should also be mastered utilising industry protocols and

both the non-mastered and mastered version should be submitted. Submission is via two high quality digital audio

files (i.e. 16 bit dithered & 24 bit WAV) delivered to the TMS assessment server. See the student handbook for

more details. Consider attention to detail in the recording quality, arrangement, performance, instrumental parts

and overall composition (if applicable). Aspects of sonic detail, balance and audio aesthetic within the mix down

artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing traits.

2. Each student must also include within their portfolio an individually authored 1500 word (circa +/- 10%) production

critique detailing the mixing process, the hardware utilised, mixing techniques employed, audio editing undertaken

and mastering techniques utilised. Standard academic writing conventions are expected (i.e. third person

narrative, bibliography, referencing etc). Submission is via a PDF file delivered to the TMS VLE. See the student


82

Assessment Criteria


Assessment method

1. Produce a high quality mix down artefact that has an emphasis on musical aesthetic.

Construct high quality, musically aesthetic mix artefacts. Assessment feedback will be subdivided into areas such as:

Mix Aesthetic. Creative Application.

Deliver a final mastered artefact. Production critique.

2. Apply audio manipulation, editing and processing techniques with creativity.

Edit, manipulate and process audio data with flair and originality. Assessment feedback will be subdivided into areas such as:

Mix Aesthetic.


Audio Manipulation.



3. Create broadcast ready mastered artefacts within industry standard protocols.

Deliver broadcast ready final mastered artefacts within industry frameworks. Assessment feedback will be subdivided into areas such as:

Mix Aesthetic.

Mastering Techniques.


4. Plan, manage and execute both mix down artefacts and mastered artefacts and trouble shoot basic problems with limited support.

Manage & deliver a project that features a cohesive mastered artefact. Assessment feedback will be subdivided into areas such as:

Problem Solving.

Presentation.

Data Management.


83

Reading List


Additional texts:

Katz, B. (2007) Mastering Audio. 2nd edition. New York: Focal Press. Owsinski, B. (2007) The Mastering Engineer’s Handbook. New York: Music Sales Limited. Mixerman. (2011) Zen and the Art of Mixing. New York: Hal Leonard. Stavrou, M. P. (2003) Mixing with your Mind: Closely Guarded Secrets of Sound Balance Engineering. Flux Research

Journals/Magazines: Audio Media. New Bay Media

Music Analysis. Blackwell Publishing Ltd.

Websites: Audio Pro International Available at: http://www.audioprointernational.com/

Songlink International Available at: http://www.songlink.com/

84

TMSSW503: Arranging

Key Information



Module Level: 5

Module Credits: 20

Pre-requisite module or learning: TMSSW404 Musicianship


Teaching & Learning





Module Summary Musical creativity is an important skill for many applications within the professional music industry. Arranging and

orchestration skills allow you to apply more musical colour & variety to any composition and are essential ingredients

for success. Covering these aspects, this module enables you to obtain musical skills that are essential when working

within creative idioms. You will study alongside students from the School’s BA (Hons) Music Production or BA (Hons)

Songwriting.

Module Aims

To consolidate an advanced knowledge of music theory and an ability to effectively analyse and

synthesise these concepts in a popular music context.

To comprehend a selection of arranging and orchestration traits and integrate them with a portfolio of self

authored work.

85


Analysis of theoretical concepts in popular music compositions.

Physical and technical aspects of writing for instruments.

Creating variety, placement of musical material within an ensemble.

Vocal arranging & harmonisation.

Study of stylistic conventions.

Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. Concepts

will be explained and demonstrated using appropriate media such as musical examples, classroom whiteboard, audio

recordings, references to hand outs and web URL’s. Practical workshops will occur within suitably equipped rooms for

relevant sections of the module. Tutorial opportunities exist whereby students can explore portfolio concepts with their

tutor(s).

Learning Outcomes



2. Create an original arrangement using various standard professional techniques for a medium to large

ensemble within a fixed timeframe.

3. Produce a score for an arrangement, using correct notational conventions for a medium to large ensemble

within a fixed timeframe.



Outcomes Addressed


Assessment Week

1 Small Arrangement.

32 bar minimum

1, 2, 3 30% 9

2 Large Arrangement.

3-5 mins +200 word supporting statement

1, 2, 3 70% 29

86


1. You will be required to arrange a given piece (with set guidelines given in advance). The arrangement will be

based on the concepts and techniques covered during weeks 1-9. You must submit a full score. The score can be

created by hand (but is legible) or generated via appropriate software (i.e. Sibelius). More details will be made

available during class time.

2. You will be required to arrange a piece of music, with set guidelines given in advance. The arrangement will be

based on the concepts and techniques covered during weeks 1-29. You must also submit a full score and

supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and expands

upon the any salient features or specific techniques you have employed. The score can be created by hand (but is

legible) or generated via appropriate software (i.e. Sibelius). More details will be made available during class time.

Assessment Criteria


Assessment method


Produce an arrangement applying the advanced theoretical concepts covered.

Small Arrangement. Large Arrangement.

2. Create an original arrangement using various standard professional techniques for a medium to large ensemble within a fixed timeframe.

Produce an original arrangement for a medium to large ensemble, using techniques covered in the course.


3. Produce a score for an arrangement, using correct notational conventions for a medium to large ensemble within a fixed timeframe.

Create a score for a medium to large ensemble following correct notational conventions as covered in the course.


87

Reading List

Core texts:


Additional texts:

Adler, S. (2002) The Study of Orchestration. New York: W.W. Norton & Co.

Baker, D. (1985) Arranging and Composing For the Small Ensemble. Alfred Publishing Co.

Belkin, A. A Practical Guide to Musical Composition.

Black, D and Gerou, T. (1998) Essential Dictionary of Orchestration, New York: Alfred Pub Co.

Gerou, T and Lusk, L. (1996) Essential Dictionary of Music Notation, New York: Alfred Pub Co.

Harnsberger, L. C. (1976) Essential Dictionary of Music Definitions, New York: Alfred Pub Co.

Levine, M. (1995) The Jazz Theory Book. Sher Music.

Negus, K. Popular Music in Theory. Polity Press.

Sebesky, D. (1994) The Contemporary Arranger. Alfred Publishing Company.

Shuker, R. (1998) Popular Music – The Key Concepts. Routledge.

Wyatt, K. and Schroeder, C. (1998) Harmony & Theory. Hal Leonard.

Journals/Magazines:

Oxford Music Online. Oxford University Press

Red Bull Music Academy. Red Bull Music Academy

Websites:

American Society of Music Arrangers and Composers Available at: http://www.asmac.org/

FreeSound Available at: http://www.freesound.org/

pd Sounds Available at: http://www.pdsounds.org/

SoundBible Available at: http://soundbible.com/

Sound Effects Library Available at: http://sound-effects-library.com/

Sound Storm Available at: http://www.audionetwork.com/sound-effects

88

TMSMB504: Music Publishing and the Legal Framework

Key Information

Course: BA (Hons) Music Business BA (Hons) Song Writing

Module Code: TMSMB504

Module Level: 5

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Ian Mack Tutor(s): Ian Mack

Module Summary Publishing represents a core element of both a business entrepreneur and a songwriting professional’s work. This

module examines the administration and commercial music publishing of original material alongside a study of the

legal mechanics and functions of in the music industry. The module advocates the fundamental importance of the

control and exploitation of copyright and publishing. In this module you will study and analyse the historical

development and exploitation of the system of musical rights management, including intellectual property, mechanical

and non-mechanical publishing rights, related income streams and the associated collecting societies that exist to

retrieve and distribute royalties. You will also analyse the scope and roll of contracts, the internal structures, functions

and future development of specific music companies.

Module Aims

To analyse and interpret the many faceted roles of copyright and music publishing within music industry

frameworks.

To comprehend the scope and function of contracts within music publishing law.


Historical development of the creation of copyrighted work.

Structure and function of specific publishing houses.

Intellectual property.

Control and exploitation of publishing rights.

Collection agencies and their relationship with artists and publishing companies.

Musical supervision.

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Synchronisation.

Self publishing.

Original scores for film, TV and games.

Publisher sales strategies.

Piracy.

Sampling and copyright clearance.

The digital paradigm and the future of copyright.

Music law & contract schematics.

Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range






outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasise

application of content.

You will examine the basic copyright law and examine the history of the formation of national and international

publishing companies through lectures through a series of lectures. You will be exposed to the working methods of

industry professionals, such as Copyright Lawyers, Music Publishers and Songwriters through a series of lecture and

seminar-based case studies. The strategy is for learning to become less prescriptive as the module progresses and for

you to develop critical autonomy via independent work and enquiry-based learning.

Students will be set weekly research-based tasks as preparation for a formative assessment. Class-based critical

analysis, presentation and discussion within a seminar environment will occur and tutors will provide feedback on the

work presented.

Learning Outcomes


1. Describe and evaluate historical changes in copyright law in the context of the UK music industry.

2. Evaluate basic copyright law and the format of relevant music industry based contracts, from a variety of

positions (e.g. performers, song writers, music publishers, music industry workers).


4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework,

employing fundamental skills of primary and secondary research.

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Assessment No Assessment


Outcomes Addressed



Assessment Week

1 Written exam.

1.5 hour exam


2 Case study.

1500 words

2,4 60% Summative 30

Assessment Brief Your group work will be assessed according to the below schedule:

1. In week 20 you will be required to sit a written exam to demonstrate understanding of the subject material

covered during weeks 1-19. This will contain a series of short answer questions on copyright law and

publishing rights. This will occur on site under TMS examination conditions. More details will be made

available during class time.

2. Assessment two features the submission of a 1500 word (circa +/- 10%) case study examining a student

sourced publishing company, with reference to its legal framework. You will be set weekly research-based

tasks as preparation for the assessment: class-based critical analysis, presentation and discussion within a

seminar environment will occur and tutors will provide feedback on the work presented. Place attention to

detail within your case study upon aspects such as the structure and function of the chosen company, the

intellectual property/clients they represent, the role, function and shape of contracts, the companies role within

the industry, the companies relationship with collection agencies/artists and/or publishing companies and the

companies working methodology in relation to copyright law. You paper must follow standard academic

conventions (i.e. third person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to


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Assessment Criteria


Assessment method

1. Describe and evaluate historical changes in copyright law in the context of the UK music industry.

Identify and appraise the copyright landscape of the UK music industry. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

2. Evaluate basic copyright law and the format of relevant music industry based contracts, from a variety of positions (e.g. performers, song writers, music publishers, music industry workers).

Define the role of copyright law and contractual obligations within a myriad of positions. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.


Diagnose the relationship between contemporary copyright and media trends. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework, employing fundamental skills of primary and secondary research.

Present a solid analysis of the workings of a music publisher firm. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.

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Reading List


Additional Texts:

Gammons, H (2011). The Art of Music Publishing: An entrepreneurial guide to publishing and copyright for the music,

film and media industries. USA: Focal

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

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TMSPERF505: Popular Music Culture

Key Information

Course:

BMus (Hons) Popular Music Performance BA (Hons) Music Business BA (Hons) Songwriting BA (Hons) Music Production

Module Code: TMSPERF505

Module Level: 5

Module Credits: 20

Pre-requisite module or learning: TMSMB403 Music Industry Landscape


Teaching & Learning



Personal Development Time: 158.5 Hours

Module Leader & Tutors Module Leader: Richard Lightman Tutors: Richard Lightman

Module Summary This module examines the social and political conditions that influenced the development of genres in popular music

from 1900 to the present day by evaluating key releases from influential artists. Most professional musicians have an

in-depth understanding of the development of contemporary music and draw upon this knowledge in their own work.

Any artist hoping to produce work of substance must demonstrate a keen awareness and a deep appreciation of the

historical and social significance of past material. Students will analyse the growth of popular music from the turn of

the twentieth century to the present day. They will study the development of successive genres from delta blues and

early jazz onwards, and will explore the dynamic relationship between popular music, popular culture and social

change.

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Module Aims

To examine significant moments in the evolution of popular music genres and place them with their

cultural, political, social and economic context.

To analysis the work of significant artists and identify their impact upon the development of popular music.

To determine the cultural impact of musical originality and creativity in the context of social and economic

history.


Students will examine the development of popular music genres through the practice of key artists in the context of

relevant economic, social and cultural developments:

Popular music and race, including the influence of African American music on mainstream popular music.

Technological change: how did the development of new technologies shape emerging genres in popular

music?

Popular music and gender, including the impact of key writers and performers.

Popular music and people’s beliefs: how have genres in music been influenced by prevailing religious

practices?

Popular music and historical events, including the impact of war and economic depression in twentieth

century popular music.

Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range






outs and web URL’s.

Formative assessment includes tutorial, tutor email feedback on draft essays, email negotiation of essay titles, Q&A

and discussion sessions in class.

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Learning Outcomes




3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the

present day.

4. Use academic resources to evaluate the impact of these artists in detail.


Assessment Methods




Assessment Week

1 Short Essay 1000 words

1,2,3,4 25% Summative W10

2 Long Essay 3500 words

1,2,3,4 75% Summative W27

Assessment

1. Short Essay (1000 words) – Individual work The essay title will be distributed during the module.

Demonstrate academic rigour by engaging with a wide range of literature, including peer reviewed journals and other

sources from the published reading list. All written submissions should be accompanied by a bibliography.

Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. Long Essay (3500 words) – Individual work Essay title will be distributed during the module.

Students are required to develop a clear and coherent written argument that employs a high level of analysis,

synthesis and evaluation to produce an informative piece of work.

Essays should be neatly presented and well-structured, discussing relevant issues and giving an informed argument.

Source material should demonstrate a thorough engagement with academic literature, including peer reviewed

journals. All written submissions should be accompanied by a bibliography. Submission is via a PDF file delivered to


96

Assessment Criteria


Assessment method


Demonstrate a detailed knowledge and informed understanding of development of a range of significant popular music genres.

Long Essay Short Essay


Comment on the interaction between popular music, key artists and important cultural and/or social developments in the period


3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the present day.

Present a detailed evaluation of the contribution of an important artist from the period Make informed references to influential work from a key artist


4. Use academic resources to evaluate the impact of this artist in detail.

Demonstrate academic rigour by engaging with a wide range of literature (including peer reviewed journals and other resources on the reading list) Present fully referenced work accompanied by a detailed and relevant bibliography.


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Reading List


Additional Texts:

Baur, M. & Baur, S. (2004) The Beatles and Philosophy (Popular Culture and Philosophy) Open Court

Boucher, D. & Browning, G. (eds) (2004) The Political Art of Bob Dylan Palgrave Macmillan

Brothers, T. (2006) Louis Armstrong’s New Orleans London: WW Norton& Co

Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors London: Pimlico

Curtis, J. (1987). Rock Eras: Interpretations of Music and Society 1954 – 1984. Bowling Green: Bowling Green State

University Press

Frith, S. et al (2001) Cambridge Companion to Popular Music Cambridge: CUP

Guralnick, P. (1998) Searching for Robert Johnson: The Life and Legend of the “King of the Delta Blues Singers”

London: Plume Books

Inglis, I. (2000) The Beatles: Popular Music and Society London: St Martin’s Press

Macdonald I. (2005) Revolution in the Head: The Beatles’ Records and the 1960’s London: Pimlico Press

Marqusee M. (2006) Wicked Messenger: Bob Dylan and the 1960s London: Seven Stories Press

Middleton, R. (2000). Reading Pop. Oxford: OUP

Porter, C. (2005) Bob Dylan and Philosophy Open Court Publishing

Schroeder, P. (2004) Robert Johnson: Mythmaking and Contemporary American Culture (Music In American Life)

University of Illinois Press

Starr, L. and Waterman, C. (2003) American Popular Music New York: OUP

Shuker, R. (2008) Popular Music: The Key Concepts London: Routledge

Werner C, (2002). A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate

Journals: ECHO: A Music-Centred Journal, UCLA

Jazz Perspectives, Routledge

Journal of Popular Music Studies, Blackwell Publishing

Popular Music and Society, Routledge

Popular Music, CUP

Popular Music History, Equinox

Popular Musicology Online, University of Oslo

Radical Musicology, Online Journal from Newcastle University

Soundscapes: Journal on Media Culture

Websites: Google Scholar: scholar.google.com

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TMSMP503: Music for Moving Image 1

Key Information

Course: BA (Hons) Music Production BA (Hons) Song Writing


Module Level: 5

Module Credits: 20


Module type:

Depending on programme: BA (Hons) Music Production: mandatory BA (Hons) Song Writing: option

Teaching & Learning





Module Summary

Working with image content is a satisfying and rewarding arena. This branch of the industry can become a very

lucrative career option. With an expansion of musical material embedded into more than just TV and film (i.e. radio &

online adverts, corporate trade fairs etc) both ‘synchronisation’ and commissioned based portfolios are becoming more

and more commonplace. This module has a creative focus, concentrating on compositional skills to produce ‘musical

beds’ for a variety of image based products (i.e. film, TV etc). You will study aspects such the aesthetic link between

image and music, writing a secondary product to a specific brief, the inferred association of music (i.e. commissions

vs. popular original material), working with an agency or director, supporting a visual theme alongside technical

constructs such as mixing music for moving image and working with digital video. You will study alongside students

from the School’s BA (Hons) Music Production or BA (Hons) Song Writing.

Module Aims

To synthesise musical and technical traits to deliver a solid musical artefact that supports the aesthetic of

a supplied moving image.

To conform a project’s musical output in line with an external brief whilst demonstrating a flexible working

methodology.

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Marrying the aesthetic of image and music.

Supporting a visual theme.

Compositional techniques for image work.

Film vs. television vs. advertisements.

Writing a secondary product to a specific brief.

Musical associations (commissions vs. Sync).

Working with an agency or director.

Mixing music for moving image & using QuickTime video.









100

Learning Outcomes


1. Asses the importance of visual and music aesthetic within a music for moving image product and apply

necessary compositional conventions to produce a valid artefact within the idiom.


3. Comprehend and utilise technical musical production aspects with working on a music for moving image

product within industry standard hardware and software platforms.



Outcomes Addressed


Assessment Week

1 ‘Cut 1’ artefact.

Approx. 2 mins

1, 3 30% 19

2 ‘Cut 2’ artefact. 3-5 mins

1, 2, 3 50% 29


1, 2, 3 20% 29

Assessment Brief Your work will be assessed according to the below schedule: 1. Early in term one you will be given a ‘brief’ for a ‘music for moving image’ project. You will be required to compose

a bed of music for a supplied moving image file know as ‘cut 1’. This file will be supplied in a QuickTime video

format and must be integrated into an industry standard DAW. Your composition can feature a mix of sounds

sourced from recordings of instruments and / or hardware and software synthesizers and samplers. This artefact

takes the form of an audio mix down artefact generated using industry standard recording hardware and software

that has been embedded back into the image content from ‘cut 1’. Submit your work on a yellow book CD / DVD

containing the moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the

student handbook for more details. Consider attention to detail to ensure that you have confirmed to the specific

brief. Ensure that your musical aesthetic marries with that of the supplied image and focus on aspects such as

arrangement, performance, instrumental parts and overall composition techniques employed.

2. During the early weeks of term 3 you will be supplied with ‘cut 2’ of the image file. This will represent a significant

change in the files content. Rework your project from submission one to encapsulate ‘cut 2’ and all implications

this entails. Complete the project in accordance to the brief and submit your work on a yellow book CD / DVD

containing the moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the

student handbook for more details. Consider attention to detail in ensure that your musical aesthetic marries with

that of the supplied ‘final cut’ and focus further on aspects such as arrangement, performance, instrumental parts

and overall composition. Traits such as sonic detail, balance and audio aesthetic within the mix down artefact are

expected to be of high quality. It is expected that you have also engaged in some audio editing traits.

101

3. In week 29 you will also be required to include within your portfolio a 1000 word (circa +/- 10%) critique detailing

your overall aesthetic, composition techniques utilised, the hardware utilised, mixing techniques employed, audio

editing undertaken, adaptations due to brief alteration and general procedures followed. Standard academic

writing conventions are expected (i.e. third person narrative, bibliography, referencing etc). Submission is via a

PDF file delivered to the TMS VLE. See the student handbook for more details.

Assessment Criteria


Assessment method

1. Asses the importance of visual and music aesthetic within a music for moving image product and apply necessary compositional conventions to produce a valid artefact within the idiom.

Construct an aesthetically valid music for moving image artefact. Assessment feedback will be subdivided into areas such as:

Music & Image Aesthetic.


Composition.

Arrangement & Form.

‘Cut 1’ artefact. ‘Cut 2’ artefact. Production critique.


Work creatively to a prescribed brief with flexibility and flair. Assessment feedback will be subdivided into areas such as:

Brief Convention.



Arrangement & Form.

‘Cut 2’ artefact. Production critique.

3. Comprehend and utilise technical musical production aspects with working on a music for moving image product within industry standard hardware and software platforms.

Demonstrate a solid grasp of valid music production techniques when working within the music for moving image idiom. Assessment feedback will be subdivided into areas such as:

Audio Manipulation.


Mix Aesthetic.

Digital Image Traits.

Data Management.

‘Cut 1’ artefact. ‘Cut 2’ artefact. Production critique.

102

Reading List

Core texts:


Additional texts:

Davies, R, (2010) Complete Guide to Film Scoring. Boston: Berklee Press Publications.

Pejrol, A & DeRosa, R, (2007) Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to

Writing and Sequencing for the Studio Orchestra. New York: Focal Press

Kalinak, K. (2010) Film Music: A Very Short Introduction. Oxford University Press USA

Rona, J. (2009) The Reel World: Scoring For Pictures-Updated & Revised Edition, 2 ed., New York: Hal Leonard

Corporation.

Sonnenschein, D, R. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. New

York: Michael Wiese Productions

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TMSSW504: Writing for Commission

Key Information



Module Level: 5

Module Credits: 20


Module type: Option

Teaching & Learning





Module Summary The important role that the likes of Tin Pan Alley, the Brill building and Motown composer’ s such as Holland-Dozier-

Holland have played in the modern music industry should not be under estimated. This model explores the concepts of

writing original material for a specific performing artist; working within the confines of a defined, focused brief. These

skills you allow you to explore alternative career opportunities. Writing to a ridged specification is both a talent and an

art, can be commercially lucrative and is increasingly commonplace in the industry. This module explores aspects

such as brief convention, musical aesthetic and setting, selection and justification of composition traits utilised,

arranging to a brief, group work, production companies, defining and selling hooks, maintaining originality and

creativity, deadlines, and project management.

Module Aims

To produce a high order musical artefact that is constructed within and confirms to pre determined

frameworks.

To identify, apply and appraise high cognitive songwriting methodologies in reference to a pre determined

musical convention.

104


Working to a brief: conventions and definitions.

Musical settings and aesthetic: commercial or artistic.

Appraisal and use of composition techniques when working within a brief.

Collaborations, top line writers and production companies.

Defining, writing and selling the hook.

Originality and creativity.

Project management, deadlines and budgets.

Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. Concepts

will be explained and demonstrated using appropriate media such as musical examples, classroom whiteboard, audio

recordings, references to hand outs and web URL’s. Practical workshops will occur within suitably equipped rooms for

relevant sections of the module. Tutorial opportunities exist whereby students can explore portfolio concepts with their

tutor(s).


1. Distinguish the role of musical aesthetic when working within a specified brief and successfully syntheses

these areas to produce a high quality cohesive asset.

2. Appraise and apply appropriate songwriting and compositional traits when working on a pre-defined music

brief and justify use.

3. Plan, manage and execute a high order music project defined to a specific brief and trouble shoot problems

with limited guidance.


Assessment Method



Assessment Week

1 Song written to brief.


1, 2, 3 40% 19

2 Song written to brief.


1, 2, 3 60% 29

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1. Assessment one features the submission of one original song, written to a brief. Early in term one your tutor

will give you the brief specification: you will be required to write for a specific artist. The brief will contain

details about the artist’s style, convention and aesthetic. Your artefact needs to conform to the overarching

brief and be suitable for the specified artist. The song must feature at least melody, harmony, rhythm & lyrics

based within the popular music idiom. Each student must engage in recording and mixing the song via an

industry standard Digital Audio Workstation. Your composition can feature a mix of sounds sourced from

recordings of instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail,

balance and audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that

you have also engaged in some audio editing traits. Attention to detail should be placed on the musicality of

the piece and the adherence to the brief covering aspects such as tonal phrases, dynamic and pulse,

structure, lyrically content, harmonic progression and harmonic and melodic dynamic. Submission is via a high

quality digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See the student handbook

for more details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the


employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered

to the TMS VLE. See the student handbook for more details

2. Assessment two features the submission of one original song, written to a brief. Early in term one your tutor

will give you the brief specifications: you will be required to write for a specific production company. The brief

will contain details about the production company’s requirements to style, convention and aesthetic. Your

artefact needs to conform to the overarching brief and be suitable for the specified production company. The

song must feature at least melody, harmony, rhythm & lyrics based within the popular music idiom. Each

student must engage in recording and mixing the song via an industry standard Digital Audio Workstation.

Your composition can feature a mix of sounds sourced from recordings of instruments and / or hardware and

software synthesizers and samplers. Aspects of sonic detail, balance and audio aesthetic within the mix down

artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing

traits. Attention to detail should be placed on the musicality of the piece and the adherence to the brief

covering aspects such as tonal phrases, dynamic and pulse, structure, lyrically content, harmonic progression

and harmonic and melodic dynamic. Submission is via a high quality digital audio file (i.e. 24 bit WAV)

delivered to the TMS assessment server. See the student handbook for more details. You must also submit a

supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and

expands upon the any salient features or specific techniques you have employed. Journalistic writing is

acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the

student handbook for more details

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Assessment Criteria


Assessment method

1. Distinguish the role of musical aesthetic when working within the specified brief and successfully syntheses these areas to produce a high quality cohesive asset.

Assess musical aesthetic and utilise appropriate songwriting techniques when working within a brief. Assessment feedback will be subdivided into areas such as:


Lyrical Aesthetic.

Brief Convention.

Tonality & Melody.


Structure & Form.

Critique.

Industry Potential.

Song written to brief. Song written to brief.

2. Appraise and apply appropriate songwriting and compositional traits when working on a pre-defined music brief and justify use.

Construct a cohesive musical artefact within defined frameworks and critique on approaches taken. Assessment feedback will be subdivided into areas such as:


Lyrical Aesthetic.

Brief Convention.

Critique.

Literacy

Referencing.

Presentation.


3. Plan, manage and execute a high order music project defined to a specific brief and trouble shoot problems with limited guidance.


Creative Approach.

Musical Aesthetic.

Critique.

Project Management.

Presentation.


107

Reading List

Core texts:


Additional texts:

Harrison, A. (2008) Music - The Business. London: Virgin Books

Knopper, S. (2009) Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age.

New York: Simon & Schuster Ltd.

Lessig, L. (2005) Free Culture: The Nature and Future of Creativity. London: Penguin Books

Websites:

BPI British Phonographic Industry Available at: http://www.bpi.co.uk

Copywriting Tips for Smart Copywriters Available at: http://www.procopytips.com/

Music Tank (University of Westminster) Available at: http://www.musictank.co.uk/

Music Week Available at: http://www.musicweek.com/

108

TMSSW505: Showcase

Key Information



Module Level: 5

Module Credits: 20

Pre-requisite module or learning: Compulsory audition. Applicants are expected to demonstrate standards to grade 7 performance.

Module type: Option

Teaching & Learning




Module Leader & Tutors Module Leader: Victy Silva Tutors: Victy Silva

Module Summary This module gives you the opportunity to explore and engage in aspects associated with a showcase performance of

original material. As a commonplace activity in the industry, the showcase represents an opportunity for a performing

songwriter to deliver self authored material to an audience often featuring industry professionals. You will develop a

portfolio of songs with an emphasis on performing them with a small pop music based ensemble, or via solo

accompaniment. With an emphasis on creativity and originality, this module gives you the chance to develop your own

distinctive voice and musical personality within both songwriting and a performance idiom. Performance is a

compulsory aspect of this module. For this reason, applicants selecting this optional module must demonstrate a

standard of grade 7 performance during a compulsory audition.

109

Module Aims

To define and build a personal, unique songwriting and musical aesthetic when working within the pop

music idiom.

To construct a portfolio of original material destined for live performance that exhibits an over arching

musical style and to perform the repertoire of work with creativity and flair.


Developing a unique artistic style.

Creativity & originality.

Musical settings and aesthetic: commercial or artistic.

Composition: writing for yourself.

Critical reflection and song development when writing for yourself.

Working with a small ensemble.

Performance: rehearsals & musical direction.

Plot development and narrative.

Historical context: classic works and composers.








1. Identify a unique personal artistic songwriting and musical style and build a cohesive over arching aesthetic

when working within the pop music idiom.

2. Construct unique self-authored musical material destined for performance and build a repertoire of original

material within a self defined style.


110

Assessment




Assessment Week

1 Gig plan.

500 word plan.

1, 3 30% 10

2 Song portfolio performance.

10-15 mins.

1, 2, 3 70% 30


1. You are required to submit a 500 word (circa +/- 10%) plan outlining your proposal song portfolio performance

in week 30. Detail your intended artistic style, discuss the proposed repertoire you will perform, outline the use

of individual accompaniment or the use of School supplied session musicians (see below) and briefly explain

your overall compositional aesthetic, the songwriting techniques utilised, your creative approach and any

lyrical, melodic and harmonic conventions followed. Journalistic writing is acceptable but referencing is

expected. Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. Assessment two features the performance of a portfolio of original songs delivered in week 30. The

performance must be between 10-15 minutes long and must feature at least two songs. There is scope for you

to performance more songs than two as long as the performance conforms to the required time duration (i.e.

perform three songs that are four minutes in duration each). Each song in the performance must feature at

least melody, harmony, rhythm & lyrics based within the popular music idiom. You personally must perform

your own material utilising any performance discipline you chose (i.e. vocals or guitar). It is not essential you

personally sing but vocals are required. You have the option to deliver the performance individually as long as

you engage in accompaniment via guitar or keys (i.e. folk aesthetic with acoustic guitar or ballad aesthetic with

piano). If you wish to engage with a small ensemble, you must source, book and engage in working with a

pool of session musicians supplied by School’s BMus (Hons) in Popular Music Performance (i.e. guitar, bass,

drums and/or vocals).This engagement will involve the creation of lead sheets and (with tutor guidance) MD

the band to be able to deliver an in School performance. Attention to detail should be placed on your individual

artistic style, the song form/structure, lyrical content, harmonic progression, melodic contour and harmonic and

melodic dynamic. The performance guidance will be delivered under supervision from your tutor and the

assessed emphasis is placed on song craft, not performance, but the performance is expected to be of a high

standard.

111

Assessment Criteria


Assessment method

1. Identify a unique personal artistic songwriting and musical style and build a cohesive over arching aesthetic when working within the pop music idiom.

Build a musical identity and define aesthetic conventions. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Musical Aesthetic.

Lyrical Aesthetic.

Composition.

Form and Structure.

Rhythmic Content.

Performance.

Gig plan. Song portfolio performance.

2. Construct unique self-authored musical material destined for performance and build a repertoire of original material within a self defined style.

Compose and deliver a repertoire of musical works within a self defined style. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Musical Aesthetic.

Lyrical Aesthetic.

Composition.

Form and Structure.

Rhythmic Content.

Performance.

Song portfolio performance.



Creative Approach.

Musical Aesthetic.

Lyrical Aesthetic.

Composition.

Form and structure.

Performance.

Gig plan. Song portfolio performance.

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Reading List

Core texts:


Additional texts:

Baxter, M. (1992) Rock’n’ Roll Singers Survival Handbook New York: Hal Leonard Corporation

Dayme, M.A. & Besterman A. (2009) Dynamics of the Singing Voice New York: Springer

Gallwey, W. Timothy/Green, Barry. (2003) Inner Game of Music. Pan

Kenny, D. (2011) The Psychology of Music Performance Anxiety. Oxford: Oxford University Press

Parncutt, Richard/McPherson Gary. (2002) The Science and Psychology of Music Performance Creative Strategies for

Teaching and Learning Oxford: Oxford University Press

Peckham, A. (2006) Vocal Workouts for the Contemporary Singer New York: G. Schirmer

Journals/Magazines:

The Stage. The Stage Media Company Ltd.

Websites:

Performance Magazine Archive Available at: http://www.bris.ac.uk/theatrecollection/liveart/liveart_PMAG.html

Voice Council Magazine Available at: http://voicecouncil.com/taking-command/

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Level 6

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TMSSW601: Song Project

Key Information



Module Level: 6

Module Credits: 40



Teaching & Learning

Lectures: 1 x 1-hour lectures per week for 9 weeks (9 hours) in term 1

Tutorials: 8-hours supervision over 20 weeks in terms 2/3

Personal Development Time: 383 hours

Module Leader & Tutors Module Leader: Yak Bondy Tutors: tbc

Module Summary The Song Project module is centred on your ability to plan, manage, deliver and execute to a high standard the

conceptualisation of song portfolio that links solid academic writing to practice.

In the Song Project module you will autonomously plan, manage and deliver a large scale project with its remit centred

within a songwriting idiom of your choosing. You will submit a portfolio of appropriate materials in support of your

project which may include (but are not limited to): song portfolios, playback artefacts such as CD, MP3 etc, full scores,

lead sheets, lyric sheets, session diaries, DAW project data, creative writing portfolios and / or music for moving image

artefacts. These will provide an insight into your pathway and project construction. You will also submit an extended

piece of academic writing. This takes the form of an essay suitable for a Level 6 module (i.e. third person narrative,

research, critique, referencing, bibliography etc). The writing will feature a solid conceptualisation of the theme

explored by your project.

The module begins with you attending a research methodology lecture series during term one that is designed to

empower you to undertake research suitable for a level six module. In week ten you will submit an outline plan

stipulating an overview of your product and the desired area of conceptualisation. You will then be assigned a suitable

supervisor from the faculty. The role of the outline plan is to present an introductory overview with which you can build

upon via research under supervision. Your plan may change by the end of the module. During terms two and three the

project becomes more self-driven with you receiving eight hours of support supervision by your relevant faculty

member. The role of the supervisor is to support your cognitive workflow and focus your chosen concept.

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Module Aims

To plan, manage and deliver a high order song project, with creativity and authority, that showcases

extended musical aesthetic and technical constructs.

To develop research methodologies and apply them to a suitable chosen schema via presenting a

heightened piece of academic writing that encapsulates appropriate referencing, presentation and writing

style for a level 6 module.

Possible Study Topics For the project you are free to choose any production conceptualisation that is relevant to you. Examples include:

A portfolio of self composed original music (i.e. album project or live performance 45 mins in length) that

demonstrates high level composition techniques.

An analysis of specific stylistic songwriting conventions and a portfolio presenting a myriad of self composed

original music developed in that style.

An in depth study of a songwriter from within the pop music idiom outlining writing methodologies, creative

approaches and musical aesthetics utilised by the writer and presented with self composed original musical

examples created in the same schema.

A portfolio of original music constructed for application to the stage.

A portfolio of self composed original music constructed for a hypothetical specification (i.e. imaginary pop artist

project or alternative rock band).

A portfolio of music for the moving image with documentation exploring the creative aesthetic followed,

constraints faced and working methodologies applied.

Teaching & Learning Methods The research methodology section of the module will be delivered in all discipline groups in a lecture format. Concepts

will be explained and demonstrated using appropriate media such as classroom whiteboard, audio recordings,

references to hand outs and other works alongside overhead projection technologies. Student interaction will be

encouraged in the form of discussions and Q&A. Students will also be encouraged to begin to evaluate their own

research portfolio under guidance by the tutor. Advice will also be given on time management, planning, presentation

and critique.

As a Level 6 module, the Song Project module falls into the self-directed, autonomous theme that is current at most

Level 6 modules. During terms two and three, limited supervision is provided and you are expected to independently

manage your workflow.

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1. Deliver a songwriting portfolio that showcases expansive musical security, stylistic interpretation, creative

aesthetic and flair.

2. Autonomously engage in a substantial heightened project that exhibits planning, composition, production,

argument and critique with limited supervision.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret

said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is

suitably presented and referenced.



Outcomes Addressed


Assessment Week

1. Outline plan.

1000 word plan.

2 10% 10

2. Song portfolio. Relevant artefact.

1, 2 60% 30

3. Song portfolio critique. 2000 word critique.

1, 2, 3 30% 30

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Assessment Brief Your work will be assessed according to the below schedule: 1. In week ten you will submit an outline plan (1000 word critique - circa +/- 10%) stipulating an overview of your

project and the desired area of conceptualisation. You will then be assigned a suitable supervisor from the faculty.

The role of the outline plan is to present an introductory overview with which you can build upon via research

under supervision. Your plan may change by the end of the module. The plan should follow the desired writing

style (i.e. third person narrative), feature good literacy, contain referencing that conforms to the Harvard

convention, posses a suitable bibliography and be of a suitable cognitive form for a Level 6 module. Submission is

via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. This will feature a substantial piece of work and encapsulates a myriad of artefacts that are relevant to your theme.

This may include (but are not limited to): song portfolios, playback artefacts such as CD, MP3 etc, full scores, lead

sheets, lyric sheets, session diaries, DAW project data, creative writing portfolios and / or music for moving image

artefacts. Your supervisor will guide you to ascertain the most relevant artefacts to submit. Submission is via

hardcopy media artefacts (if applicable) and written work artefacts (if applicable; via a PDF file delivered to the

TMS VLE. See the student handbook for more details).

3. The portfolio must contain a 2000 word critique (circa +/- 10%) exploring your chosen academic conceptualisation

relating to your portfolio. Across the course of terms two and three you’re chosen subject matter will grow under

the supervision of your assigned faculty member. The paper should follow the desired writing style (i.e. third

person narrative), feature good literacy, contain referencing that conforms to the Harvard convention, posses a

suitable bibliography and be of a suitable cognitive form for a Level 6 module. There is scope within the portfolio to

submit any additional supplementary research material if desired. These can take the form of (but are not limited

to): transcripts of personal interviews, quantitative data models and charts, lyric sheets, musical transcriptions,

software screen grabs and photographical evidence. Submission is via hardcopy media artefacts (if applicable)

and the essay via a PDF file delivered to the TMS VLE. See the student handbook for more details.

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Assessment Criteria


Assessment method

1. Deliver a songwriting portfolio that showcases expansive musical security, stylistic interpretation, creative aesthetic and flair.

Direct and deliver a songwriting portfolio at a heightened level. Assessment feedback will be subdivided into areas such as:

Musical Aesthetic.

Creativity.

Technical Constructs.

Subject/Theme.

Presentation.

Communication.

Song portfolio. Song portfolio critique.

2. Autonomously engage in a substantial heightened project that exhibits planning, composition, production, argument and critique with limited supervision.

Self manage and deliver a robust, lucid portfolio. Plan their workload, achieve set goals, manage and organise their project. Assessment feedback will be subdivided into areas such as:

Musical Aesthetic.

Creativity.

Cohesion/Structure.

Cognition.

Research.

Presentation.

Outline plan. Song portfolio. Song portfolio critique.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is suitably presented and referenced.

Utilise qualitative and/or quantitative research techniques from a myriad of sources and form compelling argument. Deliver a suitably formatted portfolio. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.

Song portfolio critique.

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Reading List

Core texts:


Additional texts:

Davies, M. (2007) Doing a Successful Research Project: Using Qualitative or Quantitative Methods. London: Palgrave

Macmillan.

Dawson, C. (2009). Introduction to Research Methods: A Practical Guide for Anyone Undertaking a Research Project.

4th ed. London: How To Books Ltd.

Neville, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism (Open Up Study Skills). London: Open

University Press.

Pears, R. and Shields, G. (2010) Cite them right: the essential referencing guide. 8th ed. Basingstoke: Palgrave

Macmillan.

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TMSPERF603: Personal & Business Development

Key Information

Course: BMus (Hons) Popular Music Performance


Module Level: 6

Module Credits: 20

Pre-requisite module or learning: TMSPERF505 Popular Music Culture

Module type: Core

Teaching & Learning

Lectures: 27 x 1.5 Hours




Module Leader : Harry Leckstein

Module Summary

This module gives you the opportunity to explore and develop the personal, interpersonal and team skills that count

towards success.

The module will introduce what are often called the “soft” skills – or the “emotionally intelligent” skills – that are

increasingly vital for personal and business success. They are particularly important for freelancers.

Throughout the module, the emphasis is on developing the skills you need in a way that is personally relevant to you.

Teaching sessions will be run in a hands-on, participative workshop style, to support you in learning through and from

your own experience.

You will get an immediate chance to practice your developing skills through using them in your own business

development and/or your Year 3 project – and will also be able to bring skills-related issues from your projects back

into this course for discussion and support.

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Aims

To help students identify the current strengths and weaknesses of their personal and business skill sets;

To enable students to develop and practice a wide range of personal and business skills;

To develop students’ abilities to self-motivate, set realistic goals, and work effectively both independently

and in team settings.


Personal style, strengths and weaknesses, including: MBTI profiling; an examination of learning styles;

personal robustness; and working effectively with people with different preferences from your own.

Working in teams, including: Belbin team roles; Tuckman team development; identifying and trouble-

shooting problems in teams; and styles and dimensions of team effectiveness.

Leadership, including: goal setting; facilitation and mentoring skills; coaching yourself and others;

individual and team interventions to improve performance; conflict handling and resolution.

Personal and interpersonal business skills, including: communication in business contexts; managing time

and stress; networking and referrals; negotiation skills.

Branding and selling, including: developing a leveraged personal presence; selling your skills; advertising

strategies.

Building an online presence, including: emerging business models; Web 2.0; e-myths and other dangers;

freelancing; and entrepreneurship.


The module is taught week by week in an interactive and participative workshop style. Sessions will consist of a

mixture of tutor and student-led input; experiential learning activities; seminars; and personal / group reflection.

Students are encouraged to keep a learning diary during the course as a way of tracking their personal and business-

skills development outside of class.

Students will be expected to read independently.

Formative Assessment

Frequent feedback on individual and team experiential learning tasks week by week. Peer feedback on assignment

plan.

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Learning Outcomes


1. Plan and carry out independent personal development and business development activity.

2. Analyse the results of this activity.

3. Critically evaluate a range of tools/methods for personal and business development, relating these tools to

their own developmental activity.

Assessment

Assignment Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Assessment

Week

1 Reflective Essay

3,000

words 1, 2, 3 100% W27

Assignment Brief: Reflective Essay (3,000 words)

Critically evaluate how you have used what you have learned during this module to support your personal /

professional development and improve your business skills and performance. Include an analytical account of the

independent personal / business development activities you have undertaken during the course of the year.

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Assessment Criteria



Assessment

method

1. Undertake

independent personal

development and

business development

activity

Plan and carry out appropriate personal and

business development activity

Produce a reasoned account of their own

strengths and weaknesses

Essay

2. Analyse the results of

this activity

Reflect on the results of their developmental

activities, producing a well-evidenced account of

their successes and failures

Make well-founded and credible plans for future

work

Essay

3. Critically evaluate a

range of tools

/methods for personal

/ business

development, relating

these tools to your

own developmental

activity.

Relate the tools and methods discussed in class

to their own developmental activities

Evaluate the models used, drawing on personal

experience and knowledge-in-action

Essay

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Reading List

Core texts:

Throughout the module, you will be given readings and handouts to support your learning.

Additional texts:

Anderson, Chris (2006) The Long Tail: How Endless Choice is Creating Unlimited Demand, London: Random House

Business Books.

Bounds, Andy (2007) The Jelly Effect: How to Make Your Communication Stick, Chichester: Capstone.

Burlingham, Bo (2007) Small Giants, London: Penguin.

Covey, Stephen (2004) The 8th Habit, London: Simon & Schuster.

Dourado, Phil & Blackburn, Phil (2005) Seven Secrets of Inspired Leaders, Chichester: Capstone.

Gardner, Howard (2006) Multiple Intelligences: New Horizons, New York: Basic Books.

Harvard Business Review on Developing Leaders (2004) Boston, MA: Harvard Business School Publishing.

Harvard Business Review on Managing Your Career (2002) Boston, MA: Harvard Business School Publishing.

Maxwell, John C. (2001) The 17 Indisputable Laws of Teamwork, Nashville, TN: Thomas Nelson Publishers.

Nash, Susan & Bolin, Courtney (2003) Teamwork from the Inside Out, Palo Alto, California: Davies-Black Publishing.

Peters, Tom (1999) The Brand You 50, New York: Alfred A. Knopf, Inc.

Peters, Tom (1999) The Project 50, New York: Alfred A. Knopf, Inc.

Rath, Tom (2007) Strengths Finder 2.0, New York: Gallup Press.

Zeus, Perry & Skiffington, Suzanne (2000) The Complete Guide to Coaching at Work, Roseville, NSW: McGraw Hill.

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Key Information



Module Level: 6

Module Credits: 20

Pre-requisite module or learning: TMSSW501 Songwriting 2

Module type: Optional

Teaching & Learning





Module Summary Creativity & originality form a central theme within the music industry and hence feature as major strands within many

programmes at TMS. Developing a heightened taxonomy from previous study, this optional module allows you to

continue to exercise your creativity and musicality. With this module, you have the opportunity to study songwriting

techniques and concepts to an advanced level with an emphasis on building a portfolio of high quality, original

material. The module will focus on the advanced remit of traits such as melodic motion, melodic development over and

across harmony, advanced modulation techniques, colouring, phonetic relationships, rhyme styles and structure and

plot progression. Personal and peer critique and reflection serve to strengthen meta cognitive abilities with a musical

bias. Once again, you will study alongside students from the School’s BA (Hons) in Songwriting course or the School’s

BA (Hons) in Music Production.

Module Aims

To define specific stylistic high level songwriting techniques, interpret them within a creative context and

utilise them to construct original material.

To construct a robust knowledge of high level songwriting techniques utilised within the popular music

idiom and to implement these techniques within a portfolio of work with autonomy, creativity and flair.


‘Rule breaking’ and innovation.

Melodic motion (parallel, similar, oblique).

Melodic development across and over chord changes.

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Intonation scales and pulse.

Word and phrase colours.

Phonetic relationships.

Plosives, fricatives, nasals.

Subtractive, consonance and assonance rhyme.

Rhyming structure, deceptive closure and unexpected closure.

Plot progression.

Non lyrical music and storytelling.

Cultural perspectives: melody, harmony and lyrics.

Artistic study: boundary pushing.








1. Appraise advanced songwriting techniques utilised beyond the standard remit of the popular music idiom and

critique their use within a self authored piece of work.

2. Interpret a myriad of advanced songwriting techniques and derive them into a high order original portfolio of

self authored work that encapsulates originality, creativity and flair.


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Assessment




Assessment Week

1 Song performance or production.


1, 2, 3 30% 10



1, 2, 3 30% 20



1, 2, 3 40% 30

Assessment Brief Your work will be assessed according to the below schedule: 1. For Assessment one, you are required to compose an original song in a genre chosen by yourself. The submission

is expected to feature high quality composition conventions which may be derived from beyond the standard remit

of songwriting within the popular music idiom. Attention to detail should be placed on the overall compositional

aesthetic, musicality, form/structure, lyrical / plot content and any melodic and harmonic conventions followed (if

applicable). Submission is via a band performance or via a production artefact. Submission via a band

performance involves sourcing, booking and engaging with a pool of session musicians from within School’s BMus

(Hons) Popular Music Performance. This engagement will involve the creation of lead sheets and (with tutor

guidance) MD the band to be able to deliver an in School performance. The performance guidance will be

delivered under supervision from your tutor and the assessed emphasis is placed on song craft not performance,

but the performance is expected to be of a high standard. For the submission of a production artefact option, you

must engage in the final production of the song via an industry standard techniques. The piece can be feature a

mix of sounds sourced from recordings of instruments and / or hardware and software synthesizers and samplers.

Aspects of sonic detail, balance and audio aesthetic within the mix down artefact are expected to be of high

quality. It is expected that you have also engaged in some audio editing traits. Submission via a production

artefact involves the submission of a two high quality digital audio files (i.e. 24 bit mix down & 16 bit mastered

WAV) delivered to the TMS assessment server. See the student handbook for more details. You must also submit

a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and

expands upon the any salient features or specific techniques you have employed. Journalistic writing is acceptable

but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student handbook for

more details.


harmonic progression, melodic & rhythmic content etc) from assessment one. You are required to compose an

original song in a genre chosen by yourself. The submission is expected to feature high quality composition

conventions which may be derived from beyond the standard remit of songwriting within the popular music idiom.

Attention to detail should be placed on the overall compositional aesthetic, musicality, form/structure, lyrical / plot

128

content and any melodic and harmonic conventions followed (if applicable). Submission is via a band performance

or via a production artefact. Submission via a band performance involves sourcing, booking and engaging with a

pool of session musicians from within School’s BMus (Hons) Commercial Music Performance. This engagement


performance. The performance guidance will be delivered under supervision from your tutor and the assessed

emphasis is placed on song craft not performance, but the performance is expected to be of a high standard. For

the submission of a production artefact option, you must engage in the final production of the song via an industry

standard techniques. The piece can be feature a mix of sounds sourced from recordings of instruments and / or

hardware and software synthesizers and samplers. Aspects of sonic detail, balance and audio aesthetic within the

mix down artefact are expected to be of high quality. It is expected that you have also engaged in some audio

editing traits. Submission via a production artefact involves the submission of a two high quality digital audio files

(i.e. 24 bit mix down & 16 bit mastered WAV) delivered to the TMS assessment server. See the student handbook

for more details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the steps

taken to create your work, and expands upon the any salient features or specific techniques you have employed.




harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. You are

required to compose an original song in a genre chosen by yourself. The submission is expected to feature high

quality composition conventions which may be derived from beyond the standard remit of songwriting within the

popular music idiom. Attention to detail should be placed on the overall compositional aesthetic, musicality,

form/structure, lyrical / plot content and any melodic and harmonic conventions followed (if applicable). Submission

is via a band performance or via a production artefact. Submission via a band performance involves sourcing,

booking and engaging with a pool of session musicians from within School’s BMus (Hons) Popular Music

Performance. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band to

be able to deliver an in School performance. The performance guidance will be delivered under supervision from

your tutor and the assessed emphasis is placed on song craft not performance, but the performance is expected

to be of a high standard. For the submission of a production artefact option, you must engage in the final

production of the song via an industry standard techniques. The piece can be feature a mix of sounds sourced

from recordings of instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail,

balance and audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that you

have also engaged in some audio editing traits. Submission via a production artefact involves the submission of a

two high quality digital audio files (i.e. 24 bit mix down & 16 bit mastered WAV) delivered to the TMS assessment

server. See the student handbook for more details. You must also submit a supporting statement (200 words circa

+/- 10%) that documents the steps taken to create your work, and expands upon the any salient features or

specific techniques you have employed. Journalistic writing is acceptable but referencing is expected. Submission

is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

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Assessment Criteria


Assessment method

1. Appraise advanced songwriting techniques utilised beyond the standard remit of the popular music idiom and critique their use within a self authored piece of work.

Assess and critique advanced songwriting techniques used within a body of self authored work. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Musical Aesthetic.

Lyrical Aesthetic.

Critique.

Song performance or production.


Perform self analysis and integrate reflection into working methodologies. Assessment feedback will be subdivided into areas such as:

Musical Aesthetic.

Melodic Motion.

Melodic and Harmonic Development.

Modulation & Variety.

Colouring.

Rhyme Structure.

Plot Progression.

Rhythmic Structure.




Creative Approach.

Musical Aesthetic.

Critique.

Project Management.

Presentation.


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Reading List

Core texts:


Additional texts:

Ayto, J. & Weidenfeld & N. (2005) Brewer’s Dictionary of Phrase & Fable. London: Orion Books

Coleman, L.S. & Funk, R.W. (2004) Professional and Public Writing: A Rethoric and Reader for Advanced

Composition. London: Longman

Hoffert, P. (2007) Music for New Media- Composing for Videogames, Web Sites, Presentations and Other New Media.

Boston: Berklee Press Publications

Holder, R.W. (2002) How Not to Say What You Mean. Oxford: Oxford University Press

Queneau, R. (2008) Exercises in Style New York: Oneworld Classics Ltd.

Sinnott, D. (2009) Masters of Songwriting. New York: Lulu

Webb, J. (1999) Tunesmith: Inside the Art of Songwriting. New York: Hyperion

Websites:

Advanced Songwriting Available at: http://www.songwritersguild.com/sandboxsga2010/index.html

Creative Boom Available at: http://www.creativeboom.co.uk/

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TMSSW603: Song Production

Key Information



Module Level: 6

Module Credits: 20


Module type: Option

Teaching & Learning




Module Leader & Tutors Module Leader: Victy Silva Tutors: Victy Silva

Module Summary Within the music industry, creative individuals often engage in third party commission to support the development and

improvement of other writer’s material. Commonly known as ‘song doctoring’ or ‘fixing’, taking material that features

promise but is by no means fully developed to a state of fulfilment is an art form and a skill. This module gives you the

chance to explore topics such as creatively fixing and improving song form and lyrics, harmony and melody

improvement and collaboration. This module gives you the skills needed to engage in the creative musicality of

producing songs.

Module Aims

To critically appraise third party authored song material and identify problematic issues.

To build and apply solutions to problematic structure, harmonic, melodic and lyrical content.

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Song doctoring conventions.

Critical appraisal.

Identification of problematical areas.

Fixing & development: rhythm & pulse.

Fixing & development: structure/form.

Fixing & development: harmonic content.

Fixing & development: melody & top lines.

Fixing & development: lyrical content.

Hooks: popularity & success.

Creativity & originality.

Collaboration & mentoring.

Publishing splits.

Commissions & briefs.








1. Appraise and critique third party authored song material from within the popular music idiom and identify the

materials strengths and weaknesses.

2. Construct a strategy to improve problematic third party authored song material and derive the material into a

high order work that encapsulates originality, creativity and flair.

3. Plan, manage and execute a song improvement project and trouble shoot problems with total autonomy.

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Assessment




Assessment Week

1 Song improvement project.

3-5 mins.

1, 2, 3 30% 19

2 Song improvement project.

3-5 mins.

1, 2, 3 70% 29

Assessment Brief Your work will be assessed according to the below schedule: 1. You are required to engage in a ‘song improvement’ project. Early in term two you will be given an excerpt of a

third party authored song that exhibits various compositional issues (via an mp3 and a score). Alongside this

excerpt you will also be given a brief from a production company. This brief will outline the desired aesthetic and

convention for the project (i.e. a commercially viable final artefact). You are required to ‘fix’ the material and

produce a high level artefact. Your work must maintain a strong musical ethic derived from the original piece and

not engage in too much deviation (i.e. not a 100% re-write or a change in musical style). Ensure that you follow the

musical aesthetic defined by the brief. The submission must be a full song structure and represent a completed

product. The final product must feature at least melody, harmony, rhythm & lyrics based within the popular music

idiom. Attention to detail should be placed on the song form/structure, lyrically content, harmonic progression,

melodic contour and harmonic and melodic dynamic. Submission is via a production artefact; you must engage in

the final production of the song via an industry standard Digital Audio Workstation. The piece can be feature a mix

of sounds sourced from recordings of instruments and / or hardware and software synthesizers and samplers.

Aspects of sonic detail, balance and audio aesthetic within the mix down artefact are expected to be of high

quality. It is expected that you have also engaged in some audio editing traits. Submission is via a high quality

digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See the student handbook for more

details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to

create your work, and expands upon the any salient features or specific techniques you have employed.



2. Assessment two requires you to engage in a second ‘song improvement’ project. Early in term two you will be

given an excerpt of a third party authored song that exhibits various compositional issues (via an mp3 and a

score). Alongside this excerpt you will also be given a brief from the original artist. This brief will outline the

desired aesthetic and convention for the project (i.e. musical artistic convention above commercial viability). You

are required to ‘fix’ the material and produce a high level artefact. Your work must maintain a strong musical ethic

derived from the original piece and not engage in too much deviation (i.e. not a 100% re-write or a change in

musical style). Ensure that you follow the musical aesthetic defined by the brief. The submission must be a full

song structure and represent a completed product. The final product must feature at least melody, harmony,

rhythm & lyrics based within the popular music idiom. Attention to detail should be placed on the song

form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic.

Submission is via a production artefact; you must engage in the final production of the song via an industry

standard Digital Audio Workstation. The piece can be feature a mix of sounds sourced from recordings of

instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail, balance and audio

aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also

134

engaged in some audio editing traits. Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to

the TMS assessment server. See the student handbook for more details. You must also submit a supporting

statement (200 words circa +/- 10%) that documents the steps taken to create your work, and expands upon the

any salient features or specific techniques you have employed. Journalistic writing is acceptable but referencing is


Assessment Criteria


Assessment method

1. Appraise and critique third party authored song material from within the popular music idiom and identify the materials strengths and weaknesses.

Assess third party song material and identify strengths and weaknesses. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Musical Analysis.

Strengths and Weaknesses.

Research.

Literacy.

Presentation.

Song improvement project.

2. Construct a strategy to improve problematic third party authored song material and derive the material into a high order work that encapsulates originality, creativity and flair.

Execute song improvement techniques upon third party material. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Melodic Improvement.

Harmonic Improvement.

Structural Improvement.

Lyrical Improvement.

Rhythmic Improvement.


3. Plan, manage and execute a song improvement project and trouble shoot problems with total autonomy.

Manage & deliver a song improvement project that features a cohesive final artefact. Assessment feedback will be subdivided into areas such as:

Creative Approach.

Musical Analysis.

Project Management.

Research.

Literacy.

Presentation.


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Reading List

Core texts:


Additional texts:

Guralnick, P. (2011) American Music Critics. New York: Hephaestus Books

Porter, E. (2002) What is This Thing Called Jazz? African American Musicians as Artists, Critics and Activists. San

Francisco: University of California Press

Kutrzeba, F.F. (2010) Survival of the Fittest - Analysis of a record company’s conditions for learning and development.

Boston: Lambert Academic Publishing

Rich, A. (2006) So I’ve Heard: Notes of a Migratory Music Critic. New York: Amadeus Press

Rutter, P. (2011) The Music Industry Handbook. London: Routledge

Van Hooff, R. (2010) Independent Record Companies in the Digital Era: On threats and opportunities in a changing

recording industry. New York: LAP

Journals/Magazines:

Contemporary Music Review. Routledge

Websites:

Music Street Journal Available at: http://www.musicstreetjournal.com/

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TMSSW604: Writing for Stage

Key Information



Module Level: 6

Module Credits: 20


Module type: Option

Teaching & Learning





Module Summary

Representing a lucrative and expressive area of composition, this module provides you the opportunity to study

creating musical artefacts for stage productions. Analysis of historical context and existing works provides a backdrop

for you to explore lyrical and musical themes with reference to the stage. Aspects covered include composition,

orchestration and sound design techniques for a myriad of stage related concepts such as constructing a main theme,

secondary themes and background themes; working to a brief; musical emotive conditioning (humour, pathos, love,

anger); working with producers, playwrights, pit orchestras, stage directors, choreographers and stage crews; using

playback and monitoring systems, and lyrical construction and plot line.

Module Aims

To produce a high order music for stage artefact that is constructed within and confirms to pre determined

frameworks.

To identify, apply and appraise high cognitive songwriting methodologies in reference to a pre determined

music for stage convention.

http://en.wikipedia.org/wiki/Pathos

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Working to a brief: conventions and definitions.

Themes: main, secondary and background.

Emotive conditioning within narrative.

Plot development and narrative.

Historical context: classic works and composers.

Working with playwrights, directors, choreographers and producers.

Arrangement and orchestration.

Sound design.

Playback systems and pit orchestras.

Project management, deadlines and budgets.





web URL’s. Practical workshops will occur within suitably equipped rooms for relevant sections of the module.

Established practitioners of theatre arts will deliver content in a guest lecture capacity. Tutorial opportunities exist

whereby students can explore portfolio concepts with their tutor(s).

Learning Outcomes


1. Distinguish the role of musical aesthetic when working within a music for stage brief and successfully

syntheses these areas to produce a high quality cohesive asset.

2. Appraise and apply appropriate songwriting, compositional and arranging traits when working on a pre-defined

music for stage brief and justify use.

3. Plan, manage and execute a high order music for stage project defined to a specific brief and trouble shoot

problems with total independence.

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Assessment

No Summative


Outcomes Addressed


Assessment Week

1 Musical backdrop for short dramatic scene.


1, 2, 3 40% 20

2 Musical piece to brief.


1, 2, 3, 60% 30

Assessment Brief Your work will be assessed according to the below schedule: 1. Assessment one features the submission of a musical backdrop composed & designed for use with a prescribed

short dramatic scene. Early in term one your tutor will give you a brief that comprises of an over arching concept

and a short story synopsis. You will also be given a digital audio file that represents the narration for the stage

production. The piece must feature at least melody, harmony & rhythm based within the popular music idiom and

must conform to the brief supplied. Each student must engage in recording and mixing the song via an industry

standard DAW. Your composition can feature a mix of sounds sourced from recordings of instruments and / or

hardware and software synthesizers and samplers. Place the audio file of the narration across the timeline of the

DAW and embedded it into the final musical artefact. Attention to detail should be placed on the musicality of the

piece and the stylistic convention covering aspects such as emotional dynamic, progression of harmony, plot

development, dynamic and pulse, structure, harmonic and melodic dynamic. Aspects of sonic detail, balance and

audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also






2. Assessment two features the submission of a musical piece composed design for use with a hypothetical stage

production. Early in term two your tutor will give you a brief that comprises of an over arching concept and a short

story synopsis. You will also be given a lyric sheet that represents the lyrics for the stage production. The piece

must feature at least melody, harmony & rhythm based within the popular music idiom and must conform to the

brief supplied. Each student must engage in recording and mixing the song via an industry standard DAW. Your

composition can feature a mix of sounds sourced from recordings of instruments and / or hardware and software

synthesizers and samplers. Using a suitable performer, record the vocals within the DAW and embedded it into the

final musical artefact. Attention to detail should be placed on the musicality of the piece and the stylistic convention

covering aspects such as emotional dynamic, progression of harmony, plot development, dynamic and pulse,

structure, lyrically content and harmonic and melodic dynamic. Aspects of sonic detail, balance and audio

aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also


139





Assessment Criteria



1. Distinguish the role of musical aesthetic when working within a music for stage brief and successfully syntheses these areas to produce a high quality cohesive asset.

Assess musical aesthetic and utilise appropriate songwriting techniques when working within a music for stage brief. Assessment feedback will be subdivided into areas such as:


Lyrical Aesthetic.

Brief Convention.

Tonality & Melody.


Structure & Form.

Critique.

Musical backdrop for narration. Musical piece to brief.

2. Appraise and apply appropriate songwriting, compositional and arranging traits when working on a pre-defined music for stage brief and justify use.

Construct a cohesive music for stage artefact within defined frameworks and critique on approaches taken. Assessment feedback will be subdivided into areas such as:


Lyrical Aesthetic.

Brief Convention.

Critique.

Literacy

Referencing.

Presentation.


3. Plan, manage and execute a high order music for stage project defined to a specific brief and trouble shoot problems with total independence.


Creative Approach.

Musical Aesthetic.

Critique.

Project Management.

Presentation.


140

Reading List

Core texts:


Additional texts:

Cohen, A. & Rosenhaus, S.L. (2006) Writing Musical Theatre. London: Palgrave Macmillan

Engel, L & Kissel, H. (2004) Words with Music: Creating the Broadway Musical Libretto. New York: Applause Theatre

Book Publishers

Frankel, A. (2000) Writing The Broadway Musical. New York: Da Capo

Spencer, D. & Lopez, R. & Marx J. (2005) The Musical Theatre Writer’s Survival Guide. New York: Heinemann

Educational Books

Journals/Magazines:

M Magazine - Theatre, Lifestyle and More

Websites:

M Magazine - Theatre, Lifestyle and More Available at: http://m-isfor.co.uk/

Nurturing Musical Theatre Writing Available at: http://www.mercurymusicals.com/

Theatrical Publishers and Rightsholders Available at: http://www.stagescripts.com/

The Top Musical Theater Writers Available at: http://www.musicals101.com/writers.htm

141

TMSMP604: Music for the Moving Image 2

Key Information

Course: BA (Hons) Music Production BA (Hons) Songwriting


Module Level: 6

Module Credits: 20

Pre-requisite module or learning: TMSMP504 Music for Moving Image 1

Module type: Optional

Teaching & Learning





Module Summary Building upon previously studied concepts, this module allows you to explore composition traits and techniques to an

advanced level, whilst working within the moving image idiom. Working within a myriad of visual themes, you will study

both the compositional and production traits associated with working within corporate video, advertising and

commercials, television film and drama, brand idents and television themes, documentaries and animated features.

Analysis of commercial work will instil reflective practice within your own work. Concepts such as project planning,

budgeting, marrying visual & musical aesthetic, themed composition strategies, arranging for specific formats,

orchestration & instrumentation for specific briefs, mixing for image, storyboards, digital video, building a professional

show reel and industry networking will be studied to an advanced level. You will study alongside students from the

School’s BA (Hons) Music Production or BA (Hons) Song Writing.

Module Aims

Exemplify the integration of musical and visual aesthetic to a high level when working within music for

moving image idioms.

Construct advanced composing, arranging and orchestration facets within a defined moving image

specification and justify their use.


Music and image aesthetic.

Composition strategies for visual themes (film, television, adverts etc).

Planning a project & budgeting.

Orchestration for specific briefs.

142

Production & mixing music for image.

Digital video formats.

Building a show reel and networking.










Learning Outcomes


1. Distinguish the role of composition and visual aesthetic when working within a brief for a moving image

product and successfully syntheses these areas to produce a high quality cohesive asset that follows industry

standard protocols.

2. Appraise and apply advanced compositional traits and technical musical production facets when working on a

music for moving image product and justify use.

3. Plan, manage and execute a high order moving image project and trouble shoot problems with total

independence.



Outcomes Addressed


Assessment Week

1 Composition for moving image portfolio.

3-5 mins.

1, 2, 3 50% 30

2 Composition for moving image score.

Score. 1, 2, 3 30% 30

3 Composition for moving image critique.

1000 word critique.

1, 2, 3 20% 30

143


1. You will be required to submit a Composition for Moving Image Portfolio. Early in term one you will be given a list

of briefs for a ‘music for moving image’ project. You will be required to select one of the briefs and compose a bed

of music for a self-sourced moving image file. This file must be in a QuickTime video format and must be

integrated into an industry standard DAW. Your composition can feature a mix of sounds sourced from recordings

of instruments and / or hardware and software synthesizers and samplers, with no Foley or dialog. This artefact

takes the form of a mix down artefact generated using industry standard recording hardware and software that has

been embedded back into the moving image file. Submit your work on a yellow book CD / DVD containing the

moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the student

handbook for more details. Consider attention to detail to ensure that your musical aesthetic marries with that of

the brief and focus further on aspects such as arrangement, performance, instrumental parts and overall

composition. Traits such as sonic detail, balance and audio aesthetic within the mix down artefact are expected to

be of high quality. It is expected that you have also engaged in some audio editing traits.

2. You must also submit a score representing the musical elements (at least four) within your piece. The score can

be created by hand (but is legible) or generated via appropriate software (i.e. Sibelius). Consider attention to detail

within the score and ensure it is of appropriate quality for a level 6 artefact. Score submission is via a hardcopy or

via a PDF file delivered to the TMS VLE. See the student handbook for more details.

3. You will also be required to include within your portfolio a 1000 word (circa +/- 10%) critique detailing your overall

aesthetic, composition and arranging techniques utilised, the hardware utilised, mixing techniques employed,

audio editing undertaken and general procedures followed. Standard academic writing conventions are expected

(i.e. third person narrative, bibliography, referencing etc). Essay submission is via a PDF file delivered to the TMS


144

Assessment Criteria



1. Distinguish the role of composition and visual aesthetic when working within a brief for a moving image product and successfully syntheses these areas to produce a high quality cohesive asset that follows industry standard protocols.

Deliver a high quality composition for a moving image product. Assessment feedback will be subdivided into areas such as:



Composition.

Arrangement & Form.

Orchestration.

Composition for moving image portfolio. Composition for moving image score. Composition for moving image critique.

2. Appraise and apply advanced compositional traits and technical musical production facets when working on a music for moving image product and justify use.

Define and utilise compositional techniques and critique their use. Assessment feedback will be subdivided into areas such as:


Composition.

Arrangement & Form.

Orchestration.

Brief Convention.

Critique.


3. Plan, manage and execute a high order moving image project and trouble shoot problems with total independence.

Manage & deliver a project that features a high quality cohesive artefact. Assessment feedback will be subdivided into areas such as:

Planning.

Problem Solving.

Presentation.

Data Management.


145

Reading List

Core texts:


Additional texts:

Karlin, F. & Wright, R. (2004) On the Track: A Guide to Contemporary Film Scoring. London: Routledge.

Schoenberg, A. (1999) Structural Functions of Harmony. New York: Faber and Faber

Fux, J. (1965) The Study of Counterpoint. New York: W. W. Norton & Co

Schifrin, L & Feist, J. (2011) Music Composition for Film and Television. Boston: Berklee Press Publications

Northam, M., Miller L.A. & Northman, M. (2011) Film and Television Composer's Resource Guide. New York: Hal

Leonard Publishing

Schelle, M. (2000) The Score: Interviews with Film Composers. New York: Silman-James Press

Journals/Magazines:

MusicTech - Anthem Publishing Ltd.

Sound On Sound. SOS Publications Group

FutureMusic. Future Publishing Ltd.

Electronic Musician. New Bay Media

Websites:

Filmmusicmag Available at: http://www.filmmusicmag.com/

Film scores Available at http://www.filmscoremonthly.com/daily/index.cfm

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Key Information



Module Level: 4

Module Credits: 20


Module type: Option

Teaching & Learning





Module Summary As a creative songwriter, use of music production idioms represents an important facet that expands your creativity

beyond just a writing remit. This module expands your study of music production schematics to a high level. You will

explore relevant platforms utilised within the industry, with an emphasis on utilising these tools within a creative

framework. In order to create a robust artefact that stands out from the crowd, aspects of originality and creativity are

paramount. Production properties such as mixing, mastering, remixing, synthesis, sampling and audio processing can

assist in the creation of a unique product for any style. These subjects will be covered in this module with an emphasis

on production of song-based material.

Module Aims

To encapsulate a comprehensive overview of advanced music production techniques with a bias towards

song based material.

To exercise musical creativity via software based synthesis and sampling methodologies.

147


Song based production ethos.

Advanced mixing protocols and traits.

Advanced audio manipulation and processing.

Synthesis techniques.

Sampling techniques.










Learning Outcomes


1. Construct a self generated music production style and create a high order audio artefact that that exhibits

originality, creativity and flair.

2. Interpret synthesis and sampling methodologies within a virtual environment and apply traits to form a

musically cohesive artefact.


4. Plan, manage and execute a high order audio processing project and trouble shoot problems with total

independence.

148



Outcomes Addressed


Assessment Week

2 Music production artefact.

3-5 mins

1, 2, 3, 4 60%

30


1, 2, 3, 4 40%

30


1. You will be required to produce a piece of music and submit a mix down artefact generated using industry

standard recording hardware and software. Select a piece from your own repertoire and construct a production

artefact that showcases a defined, personal production style. The musical piece must be an original composition

(from any genre) which features a mix of sounds sourced from recordings of instruments alongside the integration

of software synthesizers and samplers. The final mix down artefact should also be mastered utilising industry

protocols and both the non-mastered and mastered version should be submitted. Submission is via two high

quality digital audio files (i.e. 16 bit dithered & 24 bit WAV) delivered to the TMS assessment server. See the

student handbook for more details. Consider attention to detail in the recording quality, arrangement, performance,

instrumental parts, synthesis and sampling techniques utilised, audio processing and manipulation techniques

applied and overall composition (if applicable). Aspects of sonic detail, balance and audio aesthetic within the mix

down artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing

traits.

2. Each student must also include within their portfolio an individually authored 1500 word (circa +/- 10%) production

critique detailing the production ethos and style, the mixing process, the hardware and software utilised, the mixing

techniques employed, the audio editing, processing and manipulation undertaken, the integration of synthesis and

sampling methodologies and mastering techniques utilised. Standard academic writing conventions are expected

(i.e. third person narrative, bibliography, referencing etc). Submission is via a PDF file delivered to the TMS VLE.

See the student handbook for more details.

149

Assessment Criteria


Assessment method

1. Construct a self generated music production style and create a high order audio artefact that that exhibits originality, creativity and flair.

Define a personal production ethos and deliver a cohesive musical artefact. Assessment feedback will be subdivided into areas such as:

Production Aesthetic.

Musical Aesthetic.


Music production artefact Production critique.

2. Interpret synthesis and sampling methodologies within a virtual environment and apply traits to form a musically cohesive artefact.

Construct synthesis and sampling traits within a subtractive software environment. Assessment feedback will be subdivided into areas such as:

Sonic Quality.

Synthesis Techniques.

Sampling Techniques.

Creative Interpretation.



Deliver an artefact that utilises advanced sonic manipulation protocols that are commonplace in the industry. Assessment feedback will be subdivided into areas such as:

Sonic Manipulation.

Audio Quality.




4. Plan, manage and execute a high order audio processing project and trouble shoot problems with total independence.


Problem Solving.

Presentation.

Data Management.

Music production artefact. Production critique.

150

Reading List

Core texts:


Additional texts:

Gibbs, T. (2007) The Fundamental of Sonic Art & Sound Design. London: AVA Publishing

Gold, B & Morgan, N & Ellis, D. (2011) Speech and Audio Signal Processing. London: Wiley-Blackwell

Hewitt, M. (2009) Composition for Computer Musicians. New York: Delmar

Katz, B. (2007) Mastering Audio. 2nd edition. New York: Focal Press.

Owsinski, B. (2007) The Mastering Engineer’s Handbook. New York: Music Sales

Limited.

Russ, M. (2008) Sound Synthesis and Sampling. London: Focal Press

Schulz, G. (2011) Cloud and Virtual Data Storage Networking. New York: Auerbach Publications

Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. New

York: Michael Wiese Productions

Whittington, W, (2007) Sound Design and Science Fiction. Austin: University of Texas Press

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TMSPERF607: Music Pedagogy in Practice

Key Information

Course:

BMus (Hons) Popular Music Performance

BA (Hons) Music Production



Module Level: 6

Module Credits: 20


Module type: Option

Teaching & Learning





Module Leader: tbc

Tutors: tbc

Module Summary

This module helps students develop the pedagogical skills necessary for leading educational music projects in the

classroom and the community setting. Leading educational projects in music is integral to many professional

musicians’ business plans and is becoming increasingly common as graduates pursue a career with portfolio. Many

others aim to undertake a career solely in music education.

The boundaries between classroom and community teaching are becoming increasingly blurred as pedagogies from

each are becoming more commonly employed in the other. This module, therefore, will provide a valuable overview of

a broad range of contexts for music education and a study of the nature of the effective pedagogies utilised across

them.

Students will learn how to plan, deliver and evaluate effective sessions, which will ensure participants’ progression.

This module will also address the skills necessary for setting up a successful teaching practice or the creation and

implementation of a community based project.

The module is designed to be highly participative and practical and it includes a requirement for students to undertake

teaching and/ or leading in an appropriate music education setting.

152

Module Aims

To explore a variety of relevant pedagogical methodologies

To develop skills in planning, execution and evaluation

To offer opportunities for first hand practical experience in teaching and leading

To enable students to plan for employment


Planning

Evaluation

The nature of musical learning

Contexts for musical learning

Application of pedagogical methodologies

Learning styles

Participant management

Business related skills


This module will be delivered utilising a variety of methods including: tutor-led sessions, practical workshops, student-

led workshops, micro-teaching, e-learning and independent study as well as experiential learning and research.

153

Formative Assessment

Formative assessment will include Q&A, tests, quizzes, group and individual tasks, presentations, mock assessments

and student led sessions during the year. These will provide background material for both the Project Portfolio and

Practical Assessment.

Learning Outcomes


1. Utilise key pedagogic principles vital to musical learning in a variety of settings.

2. Create session outcomes and learning outcomes through devising an appropriate educational project in

music.

3. Enable and facilitate participants’ musical progression.

4. Evaluate the strengths and weaknesses of their own sessions as well as those of their peers.

Assessment

Assignment Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Assessment

Week

1

Practical

Assessment

30 Mins

Class

based

teaching

1,2,3,4 50% W22-W27

2

Project Portfolio

2500

Words

1,2,3,4 50% W28

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Assignment Brief

Project Portfolio (2,500 words) – Individual work This will consist of a written submission, in which students will:

Develop and plan a series of 10 sessions, and produce associated learning resources. Plans should be

researched and should include: rationale; lesson outcomes; learning outcomes; activities; details of the

methodologies employed: timing; resources; formative evaluation strategies; strategies for differentiation.

Evaluate each session, and provide a number of well-reasoned and well-supported suggestions for

development of the project. The evaluations should include: reflection upon the students’ own performance as

well as reflection upon planning.

Write a critical evaluation of the effectiveness of the whole project.

Refer to ongoing feedback comments from the module tutor during the year.

2. Practical Assessment- 30 Minute Lesson Observation

The student will be formally observed and assessed while leading a session, which may be taken from their

project portfolio or written specifically for the task.

The session must be devised and executed with a view to a particular setting (community/ classroom / one-to-

one).

The session must demonstrate the facilitation of progression.

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Assessment Criteria



Assessment method

1. Utilise key

pedagogic

principles vital to

musical learning in

a variety of settings

Demonstrate key pedagogic principles

within their own teaching.

Project Portfolio,

Practical Assessment

2. Create lesson

outcomes and

learning outcomes

through devising an

appropriate

educational project

in music.

Research, develop and execute

appropriate plans, demonstrating

consideration of the requirements of

individuals.

Project Portfolio,


3. Enable and

facilitate

participants’

musical

progression.

Explore summative assessment

methods. Provide constructive

formative feedback to participants and

evaluate progress.

Project Portfolio,


4. Evaluate the

strengths and

weaknesses of their

own sessions as

well as those of

their peers.

Produce critical evaluations of the

effectiveness of sessions and provide

a number of well-reasoned and well-

supported suggestions for

improvement.

Project Portfolio,


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Reading List

Core texts: Green, L., Music, Informal Learning and the School: A New Classroom Pedagogy, Ashgate Popular and Folk Music Series) 2008 Moser, P, McKAY, G., (2005) Community Music, a Handbook, Russell House Publishing, Dorset,

Swanwick, K., (1999) Teaching Music Musically, Routledge, UK,

Additional texts:

Davies, S. (2006) The Essential Guide to Teaching Longman

Fontana, D., (1988) Psychology for Teachers, BPS

Green, L, (2001) How Popular Musicians Learn Ashgate

Green, L., (1998) Music on Deaf Ears, MUP

Hallam, S, (1998). Instrumental Teaching Heinemann

Odam, G, (1995). The Sounding Symbol: Music Education in Action Stanley Thornes

Philpott, C. (ed) (2001) Learning to Teach Music in the Secondary School Routledge Falmer

Small, C, (1998) Musicking: The Meanings of Performing and Listening Wesleyan University Press

SMALL, C., (1996) Music, Society, Education, Wesleyan University Press,

Spruce, G, (1995) Teaching Music: Open University PGCE Course Reader Routledge.

Vulliamy, G. (1982) Pop, Rock and Ethnic Music in School (Resources of Music) Cambridge: CUP

Journals: General Music Today

International Journal of Community Music

Journal of Music Teacher Education

Journal of Research in Music Education

Music Educators Journal

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