BIMM London BMus (Hons) Popular Music Performance with ... · 2. Teaching institution BIMM London...

BIMM London

BMus (Hons) Popular Music Performance with Foundation Year

Course Specification

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Contents Page BMus (Hons) Popular Music Performance with Foundation Year

Course Specifications Form B 3


Teaching and Assessment Structure 42


Module Leadership 50

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FORM B

Course 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)

BMus (Hons)

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


Level:

3, 4, 5, 6 Credits: 480 total 120 credits at level 3 120 credits at Level 4 240 credits (120 credits at each of Levels 4 and 5) 480 credits (120 credits at each of Levels 3, 4, 5 and 6)

Exit awards, level and credits: (where applicable)

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

School:

London College of Music

Field:

Popular Music

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

BIMM London

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Document version:

6.0

Date document completed:

01/10/2015

Document completed by:

Andrew McKinney – BMus Course Leader

1. Awarding body/Institution

University of West London

2. Teaching institution

BIMM London

3. Admissions criteria

Academic: 80 UCAS points (from Level 3 qualification such as A Level/BTEC, or another equivalent 16-19 Diploma) and five GCSE qualifications at grade C and upwards, including English Language. Non-native English speaking students need to meet our English language requirement of IELTS 6.0. We require a minimum of 5.5 to be achieved in each band. Practical: Compulsory audition. At a Diagnostic Entry Assessment, applicants are expected to demonstrate suitable standards in Performance for entry. All applicants to BIMM London HE Courses undergo a robust diagnostic entry assessment / audition. BIMM London were recently commended in the QAA Review for Education Oversight for the high quality feedback given to all applicants during entry diagnostic. The BIMM London admissions team, under guidance from the specialist assessment / audition practitioners consider carefully all applications to ensure balance across cohorts to ensure successful ensemble work. The main focus of the diagnostic assessment is to ascertain the technical performance and musical ability of the applicants, and to gauge their level of ability for what is a specialised course preparing students for employment within a specialised industry.

IELTS Score for International Students

6.0 with a minimum of 5.5 to be achieved in each band.

4. Codes

UCAS Code A W31M

UCAS Code B N/A

JACS Code N/A

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Other N/A

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

None

6. Career and progression opportunities

The BMus (Hons) Popular Music Performance with Foundation Year is a four-year course which provides students with the opportunity to enhance their musical skills before embarking on the three-year BMus (Hons) Popular Music Performance. The Foundation Year is designed to establish a broad grounding in popular music performance and gives students the opportunity to establish the essential musical and academic study skills required for the study of popular music at higher education level. Students will study ensemble-based performance, instrumental techniques, music theory and musicianship and study skills. Upon successful completion of the Foundation Year students will automatically continue on to the remainder of the three years of the BMus (Hons) Popular Music Performance. Graduates will be able to pursue many differing opportunities across the music industry as:

Session Musician

Solo Artist

Band Development / Band Member

Pit (Theatre) Musician

Music Company Demonstrator

Arranger

Composer

Band co-ordination in Clubs / Pubs / Festivals Additional career opportunities exist within the music industry upon graduation after additional study and/or experience. These include (but are not limited to) songwriter, product analyst, artist development, music educator, music promotion, multimedia production / composition, publishing (including MIDI / music / video / multimedia), A&R, Music production / programming, Re-mixing and Label ownership. Option choices at level 5/6 will allow students to focus on and develop skills in different paradigms, within a level 6 autonomous construct. Opportunities exist for students to continue study within the remit of postgraduate courses offered by UWL, such as the MMus in Popular Music Performance or MA in Advanced Audio Technology. Graduates can also explore teaching careers upon graduation or continue study on UWL’s PGCert in Learning & Teaching

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7. Location of delivery

BIMM London, Fulham, London, SW6 1EN

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 course includes work-based learning elements, please specify below:

a. Is employment in a particular work role necessary to complete assessments? No work placement needed.

b. Are work placements an essential part of the course?

No work placements are an essential part of the course.

Work related learning scenarios Even though work based learning is not embedded into the course structure of the BMus (Hons) Popular Music Performance with Foundation Year, the course does feature a myriad of ‘work related learning’ scenarios. These scenarios are simulations of music industry activities and feature as important constructs within BIMM London HE courses. BIMM London has spent considerable time working with industry peers and members of its tutor team to develop these scenarios, with the aim to ensure that the scenarios represent realistic simulations from the wider industry and to enhance the quality of learning opportunities available to the student body. These scenarios provided added value to the student experience and through the external facing scenarios, provide opportunities for employer engagement. At the core of the level 6 structure is the Performance Project. This is an autonomous project based on real world scenarios and designed to allow students to create a fit for purpose, bespoke band based recital. A supervisor provides planning support to empower the student to deliver a performance that showcases musicianship, technical skill, a fit for purpose repertoire and a desired conceptualisation. This module demands a wide breadth and depth of skills within the performance field and is typical of commercial work within the music industry. Please see the section ‘Performance Project Supervision’ on page 9 for more information. Students have the opportunity (under direction from the Course Leader) to use any professional practice they may be involved in as a basis for their final level 6 Performance Project assessment. This has often taken the form of a negotiated assessment whereby the student in question’s final marked

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performance represents a professional booking (i.e. the support slot for an established artist). Further simulated scenarios embedded into the course include weekly level 4/5/6 LPW sessions (Live Performance Workshops driven by a real world MD model), auditions for end of term gigs (based on industry audition models), level 6 composition assessment briefs (music composed for moving image) and the various live events that are supported by the College across the academic year (such as showcase gigs).

9. Planned course duration

BMus (Hons) Popular Music Performance with Foundation Year – one academic year, leading into three additional 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 course (month and year)

September 2013

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

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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

14. Student support arrangements

Undergraduate courses Throughout their course 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 course leaders, the module leaders, the personal tutors, in-course 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 course. 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 courses. Students are expected to participate in an induction. This will introduce them to the requirements of their course of study and will provide an opportunity to receive all the relevant course documentation, visit the Library and meet and discuss requirements and expectations of their planned learning experience with the course team. Further course specific information:

BIMM London Tutorial Support The BIMM London Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs BIMM London’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 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

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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. BIMM London Pastoral Tutorials These tutorials provide support on any issues that might get in the way of succeeding at BIMM London (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 BIMM London’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. BIMM London Support with Module Choices In regards to module selection process for the BMus Levels 5 and 6, senior members of the academic team deliver course specific lectures that outline the range of options available, the aims of each optional module and its place within both the course and the wider music industry. The aim is for all students facing options to be given a comprehensive briefing to support their decision making process, typically from their Course Leader, with enough lead in time to make an informed decision. During the decision making process the Head of Education, Course Leader, Module Leader and the BMusTutor Roster are all available to offer guidance and to assist the students with any queries that may arise. Performance Project Supervision At the core of the level 6 structure is the Performance Project. This is an autonomous project based on real world scenarios and is designed to allow students to create a fit for purpose, bespoke band based recital. A supervisor provides planning support to empower the student to deliver a performance that showcases musicianship, technical skill, a fit for purpose repertoire and a desired conceptualisation. This module demands a wide breadth and depth of skills within the performance field and is typical of commercial work within the music industry. Therefore, this module encapsulates within its supervision structure bespoke PDP, coupled with career guidance. Students have the opportunity (under direction from the Course Leader) to use professional practice they may be involved in as a basis for their final level 6 Performance Project assessment.

15. Aims of the course

Over its 32 year history, BIMM London (incorporating Tech Music School) has established itself as a market leader in popular music education, delivering professional, real world training for serious minded musicians, songwriters, producers and entrepreneurs. We strive for musical innovation, originality, creative brilliance and technical excellence and to work at the forefront of our chosen disciplines. BIMM London prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioners who are equipped for a sustainable career in an ever changing industry. Our tutors are active professional practitioners, well-placed

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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 students to interpret a wide range of concepts, techniques and skills with authenticity and authority. The BMus (Hons) Popular Music Performance with Foundation Year aims to enhance students’ musical skills before embarking on the three-year BMus (Hons) Popular Music Performance. Students are encouraged to develop their individual creative ability and support this with the development of a foundation level of technical skill. In particular, the Foundation Year component of the course aims to enable students to develop:

a range of physical, creative, theoretical and performance skills relevant to future study upon the full BMus (Hons) Course;

a clear understanding of where their creative strengths lie and how these can be maximised within the context of additional study and personal development;

a basic comprehension of the diversity of music styles from within the pop music idiom;

foundation knowledge and skills pertaining to musical theory, sight reading ability, instrument technique and ensemble based performance;

basic skills in problem solving and critical reflection and the visual, written and verbal communication skills required for further honours degree study;

skills in planning and analysis, communication, problem solving, IT and presentation skills relevant to further honours degree study;

the ability to manage and organise their own learning, develop practice planners and study schedules and the basic use of research techniques appropriate within the context of current and further study;

The complete four year cycle of the BMus (Hons) Popular Music Performance course aims to enable students to develop:

a range of physical, creative, technical and performance skills relevant to employment in the commercial music 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;

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

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 musicianship.

16. Content of the course

The BMus (Hons) Popular Music Performance with Foundation Year enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at BIMM London. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other disciplines. The Foundation Year aims to enhance students’ performance, instrument technique, musicality, sight reading, academic, critical, analytical and reflective skills by considering their performances in the context of wider musical practice. This set of skills and knowledge will be developed using a variety of methods including performances, practice logs, session planners, reflective elements, learning diaries and various forms of project based within the scope of popular music performance. The BMus (Hons) Popular Music Performance with Foundation Year comprises 6 x20 credit modules at levels 3 and 4, three x20 credits modules and two x30 credit modules at level 5 with level 6 comprising four x20 credit modules and one x40 credit Project module. Students must achieve a pass (40%) in all modules comprising the course. Level 3 focuses on the development of essential musical skills in band based performance, instrument technique, academic writing, researching and presenting, aural, sight reading and music theory, stylistic analysis and personal and professional development. These skills are considered essential in order that such a student is ‘fit for purpose’ in terms of entering and engaging with HE Level 4 and has the confidence to work hard to achieve Honours. 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

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a project manager, is monitored and regularly discussed by the Course Leader and the individual student.

17. Module list and pre-requisites

Module Title Code Level Credits Pre-requisites Core Optional

Foundation Performance Studies LN/PM301 3 20 none

Instrument Techniques LN/PM302 3 20 none

Music Styles LN/PM303 3 20 none

Foundations of Music LN/PM304 3 20 none

Sight Reading LN/PM305 3 20 none

Academic Studies & Learning Development

LN/PM306 3 20 none

Performance Studies 1 LN/PM401 4 20 none

Techniques 1 LN/PM402 4 20 none

Essential Styles LN/PM403 4 20 none

Musicianship LN/PM404 4 20 none

Music Technology 1 LN/PM405 4 20 none

Popular Music Studies LN/PM406 4 20 none


Techniques 2 LN/PM502 5 20 TMSPERF402

Composing and Arranging 1 LN/PM503 5 20 TMSPERF404

Music Technology 2 LN/PM504 5 20 TMSPERF405

The Music Industry LN/PM507 5 20 TMSPERF406

Ensemble Skills LN/PM506 5 30 none

Performance Project LN/PM601 6 40 none


Personal and Business Development LN/PM603 6 20 none

Techniques 3 LN/PM604 6 20 TMSPERF502

Music Technology 3 LN/PM605 6 20 none

Composing and Arranging 2 LN/PM606 6 20 none

Music Pedagogy in Practice LN/PM607 6 20 none

Level 3 Students take six modules (120 credits). All modules are mandatory and run throughout a 30 week term cycle. Level 4 Students take six modules (120 credits). All modules are mandatory and run throughout a 30 week term cycle. Level 5

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Students take five core modules. Students select one out of two optional modules (total 120 credits). All modules run throughout a 30 week term cycle. Level 6 Students take four core modules. Students select one out of three optional modules (total 120 credits). All modules run throughout a 30 week term cycle.

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18. Course Learning Outcomes

Level 3 Relevant modules

A – Knowledge and understanding

A1. Demonstrate a basic factual knowledge of key concepts and terminology in musical theory.

A2. Illustrate basic awareness of instrument specific technical performance concepts.

A3. Present an understanding of the key concepts involved in band based ensemble performance.

A4. Assess key musical attributes associated with a range of popular musical styles.

A5. Describe fundamental musical notation symbols.

A6. Construct basic self-reflection techniques and use them in the context of Personal Development Planning.

A7. Identify and apply fundamental academic writing and research skills.

Foundations of Music Instrument Techniques Foundation Performance Studies Music Styles Sight Reading Academic Studies and Learning Development Academic Studies and Learning Development

B – Intellectual skills -The student will

B1. Comprehend the role of musical theory within the wider remit of modern popular music performance.

B2. Demonstrate an aware of how to use critical and analytical thinking when reading and writing.

B3. Be able to make informed judgements about the manipulation of knowledge in some less complex and familiar contexts.

B4. Develop the ability to become an independent autonomous learner with some level of guidance.

B5. Communicate effectively using some evaluative and analytical judgements and is be able to distinguish fact and opinion.

Foundations of Music Foundation Performance Studies Academic Studies and Learning Development All All All

C – Subject practical skills -The student will

C1. Utilise technical performance exercises to improve performance proficiency.

C2. Successfully perform components from a basic repertoire of music, within a band based ensemble.

Instrument Techniques Foundation Performance Studies

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C3. Use word processing, databases and software packages to help to present and research key information with some direction and supervision.

C4. Be able to select basic concepts to solve musical problems and justify their use.

Academic Studies and Learning Development All

D – Key / Transferable skills - The student will

D1. Demonstrate responsibility in managing own learning. D2. Communicate in an effective musical manner. D3. Use information technology to collect, sort and present data and ideas.

All All Academic Studies and Learning Development


A – Knowledge and understand ding

A1. Identify and reproduce symbols

representing music and apply aural skills.

A2. Exemplify a solid understanding of the basic

relationship between theory and practice in

music.

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.

Musicianship Musicianship Performance Studies 1 Essential Styles Techniques 1 Musicianship Essential Styles Performance Studies 1 Techniques 1 Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies

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

choices.

Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies

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B2. Examine assumptions critically in the light of

evidence.

B3. Develop a range of critical listening skills

that instil the ability to critique a variety of

technical, theoretical and creative concepts with

the musical idiom.

B4. Comprehend the contemporary landscape

of the music industry and identify the key

performers, stakeholders and practitioners’

within the industry.

B5. Conceptualise and apply pertinent theories

and concepts in relation to their own practice.

Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies Techniques 1 Performance Studies 1 Essential Styles Popular Music Studies Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies

C – Subject practical skills C1. Illustrate an understanding of the essential

concepts and techniques involved within a solo

or ensemble performance within the pop music

idiom.

C2. Demonstrate appropriate technical skills in

relation to music technology.

C3. Reproduce key aspects of musical styles and genres with authenticity within performance and theoretical methods.

C4. Demonstrate appropriate technical skills in

relation to instrumental or vocal performance .

Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Musicianship Techniques 1 Performance Studies 1 Essential Styles Techniques 1

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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.

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.

Music Technology 1 Popular Music Studies Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies Performance Studies 1 Musicianship Techniques 1 Performance Studies 1 Essential Styles Music Technology 1 Popular Music Studies



A1. Develop a coherent theoretical analysis of

the relationship between theory and practice in

composing and arranging music.

A2. Understand theoretical and aesthetic

systems and relate theory and practice to each

other.

Composing and Arranging 1 Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry

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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.

A5. Digest pertinent academic literature and

relate it to music practice.

Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 1 The Music Industry Ensemble Skills The Music Industry

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.

Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills

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C – Subject practical skills C1. Demonstrate technical proficiency and

sustained application of skills in relation to

instrumental or vocal performance including

improvisation.

C2. Perform effectively as part of an ensemble,

demonstrating a practical understanding of the

roles and musical responsibility.

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.

Performance Studies 2 Techniques 2 Ensemble Skills Performance Studies 2 Techniques 2 Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills

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.

D4. Through self-reflection, critique and/or

expansion of knowledge, devise and implement

a continuing professional development

processes.

Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry Ensemble Skills Performance Studies 2 Techniques 2 Composing and Arranging 1 Music Technology 2 The Music Industry

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Ensemble Skills



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.

Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Personal and Business Development Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Personal and Business Development Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice

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.

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.

Performance Project Personal and Business Development Music Technology 3 Music Pedagogy ion Practice Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice

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B3. Synthesise techniques of analysis and

enquiry using established procedures.

Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice

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. Draw upon contextual knowledge, musical

analysis, personal development and listening

skills to creatively interpret a chosen repertoire

Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Techniques 3

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

applicable scholarly material within a suitable

professional framework.

D2. Synthesise original concepts, and present

the results with lucidity.

Performance Project Personal and Business Development Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Personal and Business Development

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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.

Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice Performance Project Performance Studies 3 Personal and Business Development Techniques 3 Music Technology 3 Composing and Arranging 2 Music Pedagogy in Practice

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The following tables show how each module supports students’ achievement of the course learning outcomes.

Level 3

A1

A2

A3

A4

A5

A6

A7

B1

B2

B3

B4

B5

C1

C2

C3

C4

D1

D2

D3

Foundation Performance Studies

Instrument Techniques

Music Styles

Foundations of Music

Sight Reading

Academic Studies and Learning Development

Level 4

A1

A2

A3

A4

B1

B2

B3

B4

B5

C1

C2

C3

C4

D1

D2

D3

D4

D5

Performance Studies 1

Techniques 1

Essential Styles

Musicianship

Music Technology 1

Popular Music Studies

Level 5

A1

A2

A3

A4

A5

B1

B2

B3

B4

C1

C2

C3

D1

D2

D3

D4


Techniques 2

Ensemble Skills

The Music Industry

Options (1 of 2):

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Composing & Arranging 1

Music Technology 2

Level 6

A1

A2

A3

B1

B2

B3

C1

C2

C3

D1

D2

D3

D4

D5

Performance Project


Personal and Business Development

Techniques 3

Options (1 of 3):


Music Pedagogy in Practice

Music Technology 3

19. Graduate attributes and employability skills

Supporting future studying within the BMus (Hons) Popular Music Performance (or equivalent course), the Foundation Year has a vocational emphasis and (in addition to academic skills) and focuses on the following areas: Technical performance skills.

Stage craft and performance skills.

Creativity, craftsmanship and practical skills.

Analysis of repertoire components and their broader aesthetic.

Musicianship, sight reading, theory and aural and the ability to understand vocabulary of music.

Personal development, practice & study planning, trouble shooting, critical thinking and self-reflection.

Recognising the need for musicians to find employment in an extremely competitive industry, the entire BMus (Hons) Popular Music Performance qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas: Technical performance skills.

Stage craft and performance skills.

Creativity, craftsmanship and practical skills.

Commercial composition and arrangement: engaging with musical processes & developing individual creativity.

Analysis of repertoire components and their broader aesthetic.

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

Music technology and its applications in the commercial music composition, arrangement and production environments.

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. During the expansion course, the senior academic management team at BIMM London have engaged in a robust series of course reflection to ensure that aspects of module structure, taxonomy, curriculum, achievement, student support, progression and assessment are of the highest quality possible. The overarching rationale was to ensure all the HE courses delivered by BIMM London captures the essence of the College and the University’s defined Graduate attributes. This process was deemed essential to ensure that each course exhibited robust specifications and for each strand of Performance based provision, suitable differential will be embedded into each course that confirms to the College’s student profiling vision and both the defined BIMM London & UWL Graduate Attributes. Specific attention to detail was placed on the structure of the level three modules that represent the Foundation Year and the taxonomy through to level 6 and the defined Graduate Attributes. In 2011, the University defined the UWL Graduate Attributes as representing a set of abilities acquired by students during their period of study that go beyond simple acquaintance with a subject. They reflect the University’s approach to education which includes developing graduates who are well prepared for employment, adopting a definition of ‘employability’ that includes creative and enterprising attributes, lifelong learning attitudes, and an awareness of the global context since educational and working experience are necessarily anchored in the context of the wider world. Graduate Attributes are embedded in the subject and involve a preparedness and the confidence to analyse; question; categorise; interpret; see relations; explain; theorise; and reflect with reference to the broader context. Graduating at the University of West London and its partner BIMM London means that students will be developing the following Graduate Attributes and become:

A creative and enterprising professional

A reflective and critical lifelong learner

A globally aware individual The BIMM London senior academic team will consider transfer arrangements for students who may want to move upon completion of level 3 of the BMus (Hons) Popular Music Performance with Foundation Year to the BA (Hons) Creative Musicianship. The focus on the development of essential musical skills embedded into the Foundation Year also serves as an underpinning for the BA course and upon validation a more comprehensive transfer arrangement for students who may want to move to BA (Hons) Creative Musicianship course will be created under guidance with the University.

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20. Teaching and Learning strategies

BIMM London prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioners who are equipped for a sustainable career in an ever-changing industry. Our tutors are active professional practitioners, 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 students to interpret a wide range of concepts, techniques and skills with authenticity and authority. The BIMM London curriculum experience features regular class sizes averaging between 16 and 20. 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 BIMM London. Studying with us enables the student to become part of a wide-ranging student body of business specialists, producers, musicians, performers and songwriters at BIMM London; 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. BIMM London prides itself on the quality of the learning and teaching and many tutors are informed practitioners with vast industry and educational experience. Utilising a pool of existing top class performers from the industry who have pedagogic experience strengths the quality of the teaching experience. Many tutors have engaged in postgraduate study in their discipline and many have gone on to complete postgraduate learning and teaching qualifications. Some lessons are delivered in a large scale lecture format; delivered in groups of 30-64 multi-discipline students. This is where the BIMM London creative community is celebrated. 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 and assessment, and to celebrate each other’s success and engage in peer debate. Most modules will be delivered in small groups in a combined lecture/workshop format (when appropriate) with specialist practitioners. Practical workshops will occur within suitably equipped rooms for relevant sections of the module. Material and respective musical charts will be analysed and demonstrated. Performance based classes provide a feedback/coaching session, with discussion related to the style and its background/expectations. The use of technology as a teaching tool will be included in the modules, where applicable. Concepts will be explained and demonstrated using appropriate media such as 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). Teaching and learning are staged to take account of student diversity and mirror the progression in the course learning outcomes. Initial emphasis on explicit guidance and circumscribed learning tasks changes to a greater emphasis on teaching which encourages autonomous and reflective learning which can progress to more open-ended tasks, thus developing skills and knowledge tested by a variety of assessment tools.

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Students will demonstrate different learning styles, learning at different rates with larger lecture groups giving way to smaller discipline specific groups where peer and individual learning can be promoted.

Students studying on the course will be exposed to a relevant range of musical disciplines and their application in this field. Teaching and learning methods do depend however on the academic level. These include formal lecturing to large groups, seminars, workshops, group work, project work, performance ensembles, individual tutorials and directed and independent study.

BIMM London has developed its own bespoke virtual learning environment via the Moodle platform. All BIMM London HE students are provided with blended learning provision via this platform. This supports the BIMM learning and teaching strategy via a myriad of curriculum specific support for the BMus (Hons) Popular Music Performance with Foundation Year. This includes the use of the VLE as a repository for both student facing documentation such as Course Handbooks, Mitigation and Extension Forms, BIMM London HE Regulatory Appendices, BIMM London Term Dates, BIMM London HE Academic Writing Guides, Student Rep & Board of Studies Minutes, BIMM London Student Survey Results & College Handbooks. At the module level material includes supporting lecture based content such as lesson plans, PowerPoint presentation documents, links to external web sites and other assorted digital media content. The BIMM London Moodle platform has Turnitin Plagiarism detection software integration and the GradeMark feedback platform which will be utilised for academic writing based assessments on the BMus (Hons) Popular Music Performance with Foundation Year. The Moodle platform also features a myriad of added value components such as student discussion forums (i.e. find a discipline forum, inspired by music forum etc.) and Head of Department blogs. The VLE also hosts student access to the floor plans for the Fulham building alongside a copy of the recent BIMM London Self Evaluation for the QAA Review for Educational Oversight and the student authored QAA BIMM London Student Submission newsletter – The BIMM London Voice. Within BIMM London the Learning Resource Suite is provided for Student access to Moodle and other online tools. BIMM London is in an on-going process of sharing good practice with the University’s blended learning specialists at INSTIL and seeks to work with its awarding body to enhance blended learning provision. BIMM London is committed to the development of its Moodle platform and the robust integration of blending learning across all its courses with an aim to enhance the quality of the student experience. Taxonomy of study The Foundation Year directly feeds onto the BMus (Hons) Popular Music Performance Level 4 modules which, in turn, directly feed into appropriate higher level modules to embellish and heighten skill sets. This outline includes:

Foundation Year Module

BMus lvl 4 Module(s)



Notes

Foundation Performance

Studies

Performance Studies 1;


Ensemble Skills;


Core curriculum


Techniques 1: Instrument

Techniques 1;


Techniques 2;


Techniques 3;

Core curriculum

Music Styles

Essential Styles; Performance Studies 2;

Skill embedded into lvl 6 modules such

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Ensemble Skills; Techniques 2:

Instrument Techniques 2;

as Performance Project, Composing

& Arranging 2 & Techniques 3:

Instrument Techniques 3


Musicianship; Composing & Arranging 1;

Composing & Arranging 2;

Skill embedded into lvl 6 modules such

as Performance Project and (optionally)


Sight Reading

Techniques 1: Reading;

Ensemble Skills; Skill embedded into lvl 6 modules such

as Performance Project, Composing

& Arranging 2 & Techniques 3:

Instrument Techniques 3

Academic Studies & Learning

Development

Popular Music Studies;

The Music Industry; Performance Project;

Learning Development

supported by BIMM London tutorial and

student support systems

Students studying on the course will be exposed to a relevant range of musical disciplines and their application in this field. A scaffolding approach from level 3 provides students with the opportunity to enhance and embed a broad range of music and academic skills which will underpin the developmental growth of performance, critically evaluation and reasoning skills at levels 4, 5 and 6.

The development of graduate characteristics such as musical, analytical, communication, performance, IT and research skills is priority from level 3.

A student centric focus exists at level 3 that provides the opportunity for students to develop, reflect upon and eventually managed their own growth. This is via a myriad of methods, such as the Practice Planner assessment from within the Academic Studies & Learning Development module and the Learning Journal from within the Foundation Performance Studies module, which is generated via tutor & peer feedback and self-reflection. This is supported by the BIMM London tutorial system and forms part of the overarching Personal Development Planning (PDP) within the course.

The emphasis at level 3 is on developing a range of skills necessary to progress confidently to level 4, where the intention is not to replicate the content but to use the level 3 ‘scaffold of skills’ to build on more coherent musical skills. Level 3 thus employs a more structured level of guidance to achieve these goals. Level 4 modules require students to begin to critically apply their musical knowledge and to start to demonstrate critical reasoning, exploring the link between theory and the performance and introduce the myriad of roles available to the contemporary musical practitioner. At level 5 teaching and learning focuses on a deeper quality of technical security, analytical thinking and evaluative interpretation. Level 6 teaching and learning continues to focus strongly on the further development of skills which students can use in subsequent careers, demanding that

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students demonstrate their ability to integrate and execute skills attained from their previous level 3, 4 and 5 learning.

21. Assessment strategies

The assessment rationale for this course is based upon a vocational ethos. A wide range of approaches are taken which include solo and ensemble performances, portfolios, examinations, reflective statements, academic essays, written critiques, transcriptions, 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 Course 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. The course structure features assessment design that follows appropriate taxonomy procedures and is staggered across the final phase of the term(s) to allow students to effectively manage their submission workflow. The BIMM London assessment strategy encapsulates ‘reasonable adjustments’ opportunities for all relevant students. Under guidance from the Head of Education and the Course Leader, recently the team have utilised the University’s frameworks to successfully modify assessments where students have sustained permanent injury; moving to alternative modules or APEL onto a different course is possible.

22. Opportunities for work-based learning and employer engagement

The BMus (Hons) Popular Music Performance With Foundation Year enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at BIMM London. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other musical disciplines. Even though work based learning is not embedded into the course structure of the BMus (Hons) Popular Music Performance with Foundation Year, the Course does feature a myriad of ‘work related learning’ scenarios. These scenarios are simulations of music industry activities and feature as important constructs within BIMM London HE courses. For more information, please refer the section ‘Work related learning scenarios’ on page 6. The College 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 students 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 and teaching strategy at BIMM London. These individuals provide real world experience within their chosen idiom and impact knowledge, experience and inspiration within the student body.

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At BIMM London there exists many opportunities for students to engage in work-based learning and employer engagement. All BIMM London tutors are active professional practitioners and this creates the possibility of student and employer engagement as tutors are regularly receiving requests for potential student nominations outside the scope of BIMM London curriculum activities. BIMM London hold regular Masterclasses that feature visiting professionals and often members of the student body are given the chance to perform alongside industry professionals. Through its established industry contacts, BIMM London often manages and holds auditions for various industry professionals such as managers and record labels. Industry showcase events, such as A&R and production panels and production competitions with industry partners, allow students to engage with potential employees and showcase their work. This can yield exciting networking and employment opportunities.

23. Personal Development Planning (PDP)

Personal Development Planning is central to the ethos of the BMus (Hons) Popular Music Performance with Foundation Year. Aspects of self-reflection are embedded within the curriculum. Students will develop their critical, analytical and reflective skills by considering their practice in the context of wider musical practice. Various assessment methodologies exist that provide the student the opportunity to engage in critique and self-reflection of their work. During the Foundation Performance Studies module, students engage in a weekly Live Performance Workshop, under the direction of one of the members of the teaching faculty acting in the capacity of a Musical Director (MD). Throughout the academic year, students receive regular feedback within small groups based on aspects of their performance within an ensemble setting and each student completes a feedback form that encapsulates elements of tutor feedback, peer feedback and self-reflection. During the module, students use these feedback forms to submit an assessed PDP learning journal that incorporates a reflective statement and showcases their personal development and progression throughout the module. The Academic Studies & Learning Development module features the student centric development of practice planners relevant to various aspects of musical practice (such as instrument technique development, sight reading study, musical theory & aural practice, musical style study and ensemble rehearsal). The aim is to support the internalisation and development of key abilities. This module also gives the student the opportunity to explore aspects of personal learning development. This allows the student to engage in a fundamental study to the introductory frameworks surrounding HE study and serves as a solid platform for further study across all honours degree levels, up to the autonomous nature of level 6 modules. The PDP takes the form of personal reflection, time management skill analysis, scheduling and planning skills and SWOT analysis. The module also includes the development of academic study skills via study of referencing, bibliographies, essay structure and literature review. This aims to support the student for further undergraduate study. Throughout the module, the emphasis is on developing the skills students need in a way that is personally relevant to them.

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24. QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this course 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 courses 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 courses 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 courses 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 courses 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 courses, 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.

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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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 course. Familiarity with traditional 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 course, 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 courses in music are distinguished by the varying emphases given to practical and academic work. Thus some courses 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. Courses 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-

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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 course 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. 5.3 Music provision in HE covers a broad spectrum from composition and performance-based courses to those more focused on text-based studies or technology, and any integrated combination and weighting thereof. While individual music courses 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, course 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 course) while students are encouraged to specialise in the later phase of their studies.

The Quality Code The course design methodology for the BMus (Hons) Popular Music Performance with Foundation Year has been constructed utilising guidance and parameters defined by the UK’s Quality Assurance Agency’s Quality Code. Particular reference has been made to the following documentation which has provided benchmarks throughout the course design phase:

Chapter A1: The national level

Chapter A2: The subject and qualification level

Chapter A3: The programme level

Chapter A4: Approval and review

Chapter A5: Externality

Chapter B1: Programme design and approval

Chapter B5: Student Engagement

Chapter B8: Programme monitoring and review

Chapter B10: Management of collaborative arrangements During the design phase, careful analysis of the all ‘Indicators’ presented within the QAA documentation ‘Chapter B1: Programme design and approval’, ‘Chapter B5: Student Engagement‘, ‘Chapter B8: Programme monitoring and review’ and ‘Chapter B10: Management of collaborative arrangements’ provided guidance to meet the aim that course design, approval, monitoring and review are linked, and that the processes involved are seen in a holistic and integrated manner.

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During the design phase, the BMus (Hons) Popular Music Performance with Foundation Year has been constructively aligned with the QAA Subject Benchmark statements for music (2008).This provides an academic infrastructure that supports the BIMM London ethos of an holistic approach to music education and through this approach enable our students to interpret a wide range of concepts, techniques and skills with authenticity and authority. The curriculum for the BMus (Hons) Popular Music Performance with Foundation Year 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, BIMM London strives to cater for as many diverse learning styles as possible during delivery of its courses. A mixture of different learning and teaching approaches and activities are embedded in the curriculum of all BIMM London courses under guidance defined by the QAA Subject Benchmark statements for Music (2008) and the new Quality Code. Special consideration has been placed upon the development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion within the course, which all serve to enrich the student experience. QAA Subject Benchmark statements (Music 2008) utilised for course 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

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 course.

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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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The following tables show how each module supports students’ achievement of the course subject benchmark statements.

Subject Module

4.8 Aural/analytical LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM501 Performance Studies 2 LN/PM503 Composing & Arranging LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM606 Composing and Arranging 2

4.10 Compositional LN/PM303 Music Styles LN/PM403 Essential Styles LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging 2

4.11 Knowledge-based LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

4.12 Technological LN/PM306 Academic Studies & Learning Development LN/PM405 Music Technology 1 LN/PM504 Music Technology 2 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging 2

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4.13 Other LN/PM306 Academic Studies & Learning Development LN/PM406 Popular Music Studies LN/PM507 The Music Industry LN/PM603 Personal and Business Development LN/PM607 Music Pedagogy in Practice

4.14 Intellectual LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

4.15 Communication and interaction LN/PM301 Foundation Performance Studies LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

4.16 Personal management LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies1

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LN/PM501 Performance Studies 2 LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM603 Personal and Business Development

4.17 Imagination/creativity LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

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

The UK Quality Code for Higher Education Descriptor for a higher education qualification at level 6: Bachelor's degree with honours The descriptor provided for this level of the FHEQ is for any bachelor's degree with honours which should meet the descriptor in full. This qualification descriptor can also be used as a reference point for other level 6 qualifications, including bachelor's degrees, graduate diplomas and so on. 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.

Holders of a bachelor's degree with honours will have developed an understanding of a complex body of knowledge, some of it at the current boundaries of an academic discipline. Through this,

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

40

the holder will have developed analytical techniques and problem-solving skills that can be applied in many types of employment. The holder of such a qualification will be able to evaluate evidence, arguments and assumptions, to reach sound judgements and to communicate them effectively. Holders of a bachelor's degree with honours should have the qualities needed for employment in situations requiring the exercise of personal responsibility, and decision making in complex and unpredictable circumstances. Bachelor's degrees with honours form the largest group of higher education qualifications. Typically, learning outcomes for these courses would be expected to be achieved on the basis of study equivalent to three full-time academic years and lead to awards with titles such as Bachelor of Arts, BA (Hons) or Bachelor of Science, BSc (Hons).

The following tables show how each module supports students’ achievement of the course HE descriptors.

Descriptor Module

Have demonstrated: LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

Will be able to: LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship

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LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

Will have: LN/PM301 Foundation Performance Studies LN/PM302 Instrument Techniques LN/PM303 Music Styles LN/PM304 Foundations of Music LN/PM305 Sight Reading LN/PM306 Academic Studies & Learning Development LN/PM401 Performance Studies 1 LN/PM402 Techniques1 LN/PM403 Essential Styles LN/PM404 Musicianship LN/PM405 Music Technology 1 LN/PM406 Popular Music Studies LN/PM501 Performance Studies 2 LN/PM502 Techniques 2 LN/PM503 Composing & Arranging LN/PM504 Music Technology 2 LN/PM507 The Music Industry LN/PM506 Ensemble Skills LN/PM601 Performance Project LN/PM602 Performance Studies 3 LN/PM603 Personal and Business Development LN/PM604 Techniques 3 LN/PM605 Music Technology 3 LN/PM606 Composing and Arranging LN/PM607 Music Pedagogy in Practice

26. BMus (Hons) Popular Music Performance with Foundation Year Teaching and Assessment Structure The following table summarises the learning outcomes and teaching and assessment structures for each module.

LEVEL 3

Module Credits Classes Weekly contact

hours Summative

Assessments Learning Outcomes

Foundation Performance

Studies 20

Performance Preparation workshop

1 - 1. As part of a small ensemble, perform repertoire from the

world of popular music and participate in all scheduled workshops.

2. Practice for performance effectively, with guidance. 3. Reflect on your personal development in the module. Performance

workshop 2

Wk 15 (20%) Wk 20 (20%) Wk 22 (20%) Wk 25 (20%) Wk 30 (20%)


20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Apply effective instrument technique within performance.

2. Utilise specified techniques with creativity within a given assignment.

3. Develop a personal technique practice regime.

Music Styles 20 Styles workshop 1.5 Wk 20 (40%) Wk 30 (60%)

1. Identify stylistic elements for a wide range of popular music genres.

2. Perform a wide range of popular music genres, utilising relevant stylistic musical devices.

3. Develop your own interpretation of stylistic musical devices, with guidance.

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20 Lectures / workshops

1.5 Wk 10 (30%) Wk 20 (30%) Wk 29 (40%)

1. Analyse a piece of pop music, both visually and aurally, and identify its core musical components.

2. Construct basic melodic, harmonic and rhythmic structures both vocally and on paper.

3. Employ the above in creative endeavours such as composition.

Sight Reading 20 Lectures / workshops

1.5 Wk 20 (40%) Wk 30 (60%)

1. Identify & execute, with limited guidance, pitch, rhythm and harmony from relevant instrument staff notation.

2. Identify & execute, with limited guidance, dynamics, tempo and expression markings from relevant instrument staff notation.

3. Apply notation techniques to create basic musical transcriptions, under guidance.

Academic Studies & Learning

Development

20 Theory lectures Seminars Tutorials

1.5

Wk 19 (40%) Wk 29 (60%)

1. Develop and present a personal development plan and practice planner, with limited guidance.

2. Demonstrate basic referencing and citation techniques within academic study, with limited guidance.

3. Apply a basic foundation of critical thinking to an appropriate music research subject.

4. Present basic bibliographies that utilise the correct required convention within academic based writing.

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LEVEL 4

Module Credits Classes Weekly contact

hours Summative



20


1 - 1. Perform effectively as part of a live ensemble, utilising

appropriate technical and interpretive skills within specified musical genres by attending and participating in all scheduled workshops.

2. Employ specified style-specific skills in live performance. 3. Prepare for performance effectively, with guidance. 4. Critically analyse and reflect on your personal

development in the module.

Performance workshop

2

Wk 10 (10%) Wk 15 (20%) Wk 20 (20%) Wk 22 (10%) Wk 25 (20%) Wk 30 (20%)

Techniques 1 20

Instrument Technique workshop

1 Wk 20 (20%) Wk 30 (30%)

1. Demonstrate a sound technical approach to their instrument by performing prescribed exercises that highlight fundamental areas of technique.

2. Utilise specified techniques in a creative assignment, performed at a secure and competent level.

3. Read and interpret music notation within defined guidelines with limited preparation time to a secure and competent level.

4. Perform from music notation with advance preparation to a secure and competent level.

Reading workshop

1 Wk 20 (20%) Wk 30 (30%)

Essential Styles

20

Styles workshop 1 Wk 20 (20%) Wk 30 (30%)

1. Recognise the stylistic elements in various genres of music and apply stylistic conventions to original instrumental part writing.

2. Utilise a selection of stylistic concepts and devices, to be performed at a secure and competent level.

3. Arrange and notate for an ensemble, using the correct and stylistically appropriate conventions for notation, within defined guidelines.

4. Demonstrate effective musical directorship in an ensemble performance, within defined guidelines.

Ensemble workshop

1

Wk 27 (25%) Score

Wk 30 (25%) Performance

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Musicianship 20 Theory & Aural 1.5 Wk 20 (40%) Wk 30 (60%)

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.

Music Technology 1

20 Music Technology workshop

1.5 Wk 19 (40%) Wk 29 (60%)

1. Demonstrate a basic understanding of the role of hardware & software within music technology systems.

2. Apply sequencing & arranging skills within a contemporary Digital Audio Workstation.

3. Operate basic recording, editing & processing of live audio signals within a contemporary Digital Audio Workstation.

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

Popular Music Studies


1.5 Wk10 (10%) Wk 20 (40%) Wk 29 (50%)

1. Demonstrate a detailed knowledge of the history of popular music

2. Understand and reflect on the cultural, social, political and technological developments that helped shape that history

3. Develop an understanding of a range of concepts, frameworks and theories relevant to the study of popular music

4. Demonstrate an understanding of academic writing and referencing conventions

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LEVEL 5

Module Credits Classes Weekly

contact hours Summative



30


1.5 - 1. Perform effectively as part of a live ensemble, utilising

appropriate technical and interpretive skills with limited direction.

2. Employ appropriate style-specific skills in live performance with limited guidance.

3. Prepare for performance and assessment within guidelines.

Performance workshop

2

Wk 10 (20%) Wk 15 (20%) Wk 20 (20%) Wk 25 (20%) Wk 30 (20%)

Techniques 2 20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Demonstrate a solid, secure and methodical technical approach to their instrument by performing a selection of prescribed musical exercises.

2. Utilise a range of specific techniques to create a musically effective and stylistically appropriate creative assignment.

Ensemble Skills

30 Band Reading & Ensemble workshop

2

Wk 10 (10%) Wk 20 (20%) Wk 25 (30%) Wk 30 (40%)

1. Perform and interpret music in a band situation from a previously unseen score with limited preparation time.

2. Demonstrate performance and appropriate rehearsal skills to an advanced level under musical direction.

The Music Industry


1.5 Wk 20 (40%) Wk 29 (60%)

1. Describe and evaluate the work of copyright and royalty collection agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

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

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

4. Identify and evaluate a range of digital music services, platforms and networks supporting the DIY / independent music industry

OPTIONS (1 of 2)

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20 Composing & Arranging workshop

1.5 Wk 19 (40%) Wk 29 (60%)

1. Apply advanced theoretical concepts to original compositions within a fixed timeframe.

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

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

Music Technology 2


1.5 Wk 19 (40%) Wk 29 (60%)

1. Construct an overview of the role of hardware & software within recording environments.

2. Implement advanced sequencing, arranging, sampling and recording techniques within a contemporary Digital Audio Workstation.

3. Utilise heightened editing, processing, mixing & mastering traits within a contemporary Digital Audio Workstation.

4. Successfully manage an autonomous project with creativity and solve problems with limited support.

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LEVEL 6

Module Credits Classes Weekly

contact hours Summative


Performance Project

40

Research Techniques lecture (Term 1 only)

1

Wk 20 (30%) Wk 25 (20%)

Wk 27-29 (50%)

1. Deliver a live performance of music that showcases expansive technical security, stylistic interpretation, communication and flair.

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

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Assemble work that is suitably presented and referenced.

Supervision tutorial (4 hours per student across terms 2 & 3)

0.4


20 Performance Workshop

2

Wk 5 (16%) Wk 10 (16%) Wk 15 (17%) Wk 20 (17%) Wk 25 (17%) Wk 30 (17%)

1. Perform at an advanced level in a specialist genre, with effective use of communication and interpretation skills.

2. Employ appropriate style-specific skills, in line with industry requirements.

3. Demonstrate effective use of autonomous preparation for performance.

Personal & Business

Development 20 Lecture 1.5

Wk 10 (20%) Wk 27 (80%)

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

Techniques 3 20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Demonstrate an advanced technical approach to their instrument by performing prescribed technical exercises.

2. Utilise advanced techniques in a creative assignment.

OPTIONS (1 of 3)

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Music Technology 3


1.5 Wk 20 (40%) Wk 29 (60%)

1. Execute the use of industry standard music production hardware and software at an advanced level.

2. Develop personal production values/aesthetics that exhibit creativity and flair.

3. Assemble heightened editing, processing, mixing, synthesis, sampling and postproduction traits within a contemporary Digital Audio Workstation.

4. Successfully manage a high order autonomous project and solve problems with total independence.


20 Composing & Arranging workshop

1.5 Wk 19 (40%) Wk 29 (60%)

1. Create an original composition and arrangement appropriate to a given setting, context or mood for a medium to large ensemble within a fixed timeframe.

2. Produce a professional quality score for an original composition and arrangement, using correct notational conventions for a medium to large ensemble within a fixed timeframe.

Music Pedagogy in Practice

20

Theory lectures Practical workshop Micro-teaching

1.5

Wk 26-29

(50%) Wk 29 (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.

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