ba (hons) songwriting course specification...4 6. career and progression opportunities the ba (hons)...

BA (Hons) Songwriting

Course Specification

2

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)

BA (Hons)

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

Songwriting

Level:

4, 5 & 6 Credits: 360

Exit awards, level and credits: (where applicable)

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

School:

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

Document version:

3.0

Date document completed:

01/10/2015

Document completed by:

Simon Colam, Head of Education, BIMM London

3

1. Awarding body/Institution

University of West London

2. Teaching institution

BIMM London

3. Admissions criteria

160 UCAS points (from Level 3 qualification such as A Level/BTEC, or another equivalent 16-19 Diploma), or the One Year Edexcel Diploma in Music Production, Five GCSE's Grades A* - C; 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. Applicants must have achieved Grade 5 Theory & Aural (from a recognised award body) for successful admission. In special circumstances a conditional place may be offered prior to completion of grade 5 before the course commences. Applications by experienced practitioners without formal qualifications may also be considered through accreditation of prior experiential learning via the BIMM London APEL policy.

IELTS Score for International Students

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

4. Codes

UCAS Code A W380

UCAS Code B N/A

JACS Code N/A

Other

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

None

4

6. Career and progression opportunities

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

7. Location of delivery

BIMM London, Effie Road, 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? b. Are work placements an essential part of the course?

Via the optional level 6 module LN/PM607 Music Pedagogy In Practice students have the choice to explore educational constructs. The module is designed to be highly participative and practical and it includes a requirement for students to undertake teaching and/ or leading in an appropriate music education setting. This setting can either be internal within BIMM London or external via one of the BIMM London Industry Partners, or via the wider remit of BIMM Group member sites. The Music Pedagogy In Practice module acknowledges the current changes proposed in the National Plan for Music Education where community musicians will now be expected to teach in schools. With both internal and external placement all related procedures such as risk assessment, health and safety, safeguarding and CRB will be adhered to with overarching management of these issues delivered by BIMM London on the student’s behalf.

9. Planned course duration

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

5

Honours degree – 360 credits – three academic years.

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

September only start February only start September and February start

Other If other, please specify:

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

September / October 2012

12. Language of study

English

13. Links with External Organisations/Industrial Partners

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

6

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. In addition to the University-wide support framework which encompasses course leaders, module leaders, 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. 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. The following student support services are available for students: Careers and Employment Services Advice Team Disability Team Information and Funding Team Accommodation Team Chaplaincy Counselling Students’ Union Further 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 BIMM London Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. BIMM London Career Action Planning and Artist Development Tutorials These tutorials are a unique aspect of the BIMM London experience that enable students to have intensive one-to-one meetings with highly experienced professionals who can advise on all aspects of professional development from technical advice to broader support in all aspects of a student’s progress. BIMM London aims to provide the widest range of tutors across all disciplines and slots can be booked up to three weeks in advance.

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

7

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 BA Levels 5 and 6, students make their choices across a three week period when academic skills are discussed and analysed. During the decision making process the Head of Education, Course Leader, Module Leader and the BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise.

15. Aims of the course

The BA (Hons) Songwriting 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. Opportunities exist to have your songs performed by members of the College’s student body. Students also develop their critical, analytical and reflective skills by considering their songs in the context of the musical, cultural and sociological development of popular music and the music industry. Alongside the attainment of high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including song frameworks, session planners, reflective elements, learning diaries and various forms of research projects. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Course Leader and the individual student.

8

16. Content of the course

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

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

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

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

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

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

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

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

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

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

9

17. Module list and pre-requisites

Module Title Code Level Credits Pre-requisites Core Optional

Recording Skills LN/MP401 4 20 none

Songwriting 1 LN/SW401 4 20 none

Song Stylistics LN/SW402 4 20 none

Music Technology for Songwriters 1

LN/SW403 4 20 none

Musicianship* LN/SW404 4 20 none

Popular Music Studies LN/PM406 4 20 none

Songwriting 2 LN/SW501 5 20 TMSSW401


LN/SW502 5 20 none

Arranging LN/SW503 5 20 TMSSW404

Music Publishing and the Legal Framework

LN/MB504 5 20 none

The Music Industry LN/PM507 5 20 TMSPERF406

Music for Moving Image 1 LN/MP503 5 20 none

Writing for Commission LN/SW504 5 20 none

Showcase LN/SW505 5 20 Compulsory audition. Applicants are expected to demonstrate standards to grade 7 performance.

Song Project LN/SW601 6 40 none

Personal and Business Development

LN/PM603 6 20 none

Songwriting 3 LN/SW602 6 20 TMSSW501

Song Production LN/SW603 6 20 none

Writing for Stage LN/SW604 6 20 none

Music for Moving Image 2 LN/MP604 6 20 TMSMP503


LN/SW605 6 20 none

Music Pedagogy in Practice LN/PM607 6 20 none

10

18. Course Learning Outcomes

Level 4 Relevant modules

A – Knowledge and understanding

A1. Illustrate a firm grasp of the essential

concepts and techniques involved within a

typical music production environment.

A2. Exemplify a solid understanding of the basic

concepts of songwriting, within the popular

music idiom.

A3. Create a solid grounding in musicality and

apply technical, theoretical and creative

concepts to musical structures.

A4. Identify industry standard protocols and

practices and apply these structures with limited

guidance.

Recording Skills Music Technology for Songwriters 1

Songwriting 1 Song Stylistics Musicianship Songwriting 1 Song Stylistics Musicianship Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship

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

choices.

B2. Examine assumptions critically in the light of

evidence.

B3. Assemble a range of critical listening skills

that instil the ability to critique a variety of

songwriting, music production, sequencing

and/or recording techniques.

B4. Comprehend the contemporary landscape

of the music production industry and identify the

key stakeholders and providers within the

industry.

Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1

11

B5. Conceptualise and apply pertinent theories

and concepts in relation to their own work.

Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies

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

creating and recording music.

C2. Use and create computer software for

musical tasks including composing and

recording, editing, analysing and synthesising

sound.

C3. Begin to build a portfolio of music industry

related content, with limited independence.

C4. Deliver songwriting & academic portfolios in

a myriad of suitable industry standard formats.

Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies

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.

Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Popular Music Studies Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1

12

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.

Musicianship Popular Music Studies Recording Skills Music Technology for Songwriters 1 Recording Skills Songwriting 1 Song Stylistics Music Technology for Songwriters 1 Musicianship



A1. Develop a coherent theoretical analysis of

emerging technological developments within

songwriting idioms.

A2. Understand theoretical and aesthetic

systems and relate theory and practice to each

other.

A3. Express a high level of musicality with an

ability to effectively analyse and synthesise

musical concepts in a popular music context.

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

political, philosophical, and economic context

and to relate processes of change in music to

historical, social and other factors.

Songwriting 2 Arranging Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music for Moving Image 1 Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase

13

A5. Digest pertinent academic literature and

relate it to music industry practice.

Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase

B – Intellectual skills B1. Assimilate and synthesise complex

information.

B2. Synthesise inputs (materials, knowledge,

instinct, tradition) in order to generate informed

and personally owned outputs in written, aural

or practical format.

B3. Research and explore: gathering, synthesis

and evaluation of evidence, including the ability

to quote from and acknowledge written sources.

B4. Conceptualise and apply pertinent theories

and concepts in relation to their own work.

Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Music Technology for Songwriters 2 Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Studio Management

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

technologically-mediated forms of music.

Songwriting 2 Music Technology for Songwriters 2

14

C2. Implement advanced musical and technical

constructs with an emphasis on originality and

creativity.

C3. Exhibit problem-solving skills: reacting to

new situations, decoding information and ideas,

dealing with complex situations, and finding

ways of working with others

under pressure.

Music for Moving Image 1 Writing for Commission Songwriting 2 Music Technology for Songwriters 2 Arranging Music for Moving Image 1 Writing for Commission Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase

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

risk and cope with the unexpected.

D2. Present work in an appropriate range of

professional contexts.

D3. Apply industry standard protocols,

techniques and methodologies suitable for a

prescribed paradigm.

Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase

15

D4. Through self-reflection, critique and/or

expansion of knowledge, devise and implement

a continuing professional development

processes.

Songwriting 2 Music Technology for Songwriters 2 Arranging Music Publishing & the Legal Framework The Music Industry Music for Moving Image 1 Writing for Commission Showcase



A1. Assess concepts and hypotheses critically

in the light of evidence, and to apply insights

and discoveries in one area of study to another.

A2. Define advanced academic conventions

and integrate their protocols within a substantial

body of work.

A3. Work autonomously on a substantial project

and utilise critical thinking skills with flair and

authority.

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

B – Intellectual skills B1. Develop research methodologies and apply

them to a suitable chosen schema via a

heightened piece of academic writing that

encapsulates appropriate referencing,

presentation and writing style.

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

16

B2. Employ reasoning and logic in order to

analyse data, and to formulate relevant

arguments and hypotheses; and the ability to

express, interpret and discuss such

analyses, arguments and hypotheses.

B3. Synthesise techniques of analysis and

enquiry using established procedures.

Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 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. Demonstrate advanced practical proficiency

in relation to songwriting paradigms.

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

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

applicable scholarly material within a suitable

professional framework.

Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage

17

D2. Synthesise original concepts, and present

the results with lucidity.

D3. Employ self-directed learning and time

management skills to ensure successful

achievement of goals and deadlines.

D4. Apply problem-solving skills to cope with

new situations, translate information and ideas,

manage difficult situations, and work effectively

under pressure.

D5. Use reflective practice and critical thinking

to undertake informed personal, academic and

professional development.

Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy In Practice Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy In Practice Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy In Practice Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy in Practice Song Project Personal and Business Development Songwriting 3 Song Production Writing for Stage Music For Moving Image 2 Music Technology for Songwriters 3 Music Pedagogy In Practice

18

19. Graduate attributes and employability skills

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

Creativity, craftsmanship and practical skills.

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

Analysis of repertoire components and their broader aesthetic.

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

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

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

Music industry frameworks and personal and business development.

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

20. Teaching and Learning strategies

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 ranging from 16 to 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 disciplines. 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, assessment, to celebrate each other’s success and to engage in peer debate. Most modules will be delivered in small groups in a combined lecture/workshop format (when appropriate). Practical workshops will occur within suitably equipped rooms for relevant sections of the modules. The use of technology as a teaching tool will be included in the modules. When appropriate, each student will have access to their own Apple Mac workstation running industry standard hardware and software. For applicable modules, overhead projection will be used to deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using appropriate media such as software and hardware examples, classroom whiteboard, audio recordings, references to hand outs and web URL’s.

19

21. Assessment strategies

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

22. Opportunities for work-based learning and employer engagement

The 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.

20

23. Personal Development Planning (PDP)

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

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

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

21

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. 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

22

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-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 course design methodology for the BA (Hons) Songwriting has been constructively aligned with the QAA Subject Benchmark statements for music (2008) as outlined in section 4.This provides an academic infrastructure that supports the 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 BA (Hons) Songwriting is forward thinking, robust and contemporary and is modelled on the landscape of the current music industry. What the student studies is relevant to the working practices of the industry: students learn what they need to learn. In line with good pedagogic practice, BIMM London strives to cater for as many diverse learning styles as possible during delivery of its courses. A mixture of different learning & 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): development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion all serve to enrich the student experience. QAA Subject Benchmark statements (Music 2008) utilised for 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

23

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.

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

24

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.

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

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

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

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

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

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

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

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

Typically, holders of the qualification will be able to:

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

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

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

And holders will have:

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

equivalent nature.

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

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

LEVEL 4

Module Credits Classes Weekly contact

hours Summative

Assessments Learning Outcomes

Recording Skills

20 Theory lectures Recording workshops

1.5

W10 (30%) W29 (70%)

1. Demonstrate a solid understanding in the use and

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

implement digital audio traits within a contemporary Digital Audio Workstation.

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

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

Songwriting 1 20 Theory lectures Songwriting workshops

1.5 W10 (30%) W20 (30%) W29 (40%)

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

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

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

Song Stylistics

20 Theory lectures Analysis workshops

1.5 W19 (40%) W29 (60%)

1. Identify stylistic song traits utilised within the pop music

idiom. 2. Apply a myriad of appropriate songwriting techniques

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

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

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

26


20 Theory lectures Workstation workshops

1.5 W19 (30%) W29 (70%)

1. Apply sequencing techniques within a software environment.

2. Perform musically applicable edits upon digital audio content.

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

and trouble shoot basic problems with limited support.

Musicianship 20

Theory & Aural lectures

1 W20 (30%) W29 (30%)

1. Demonstrate an understanding of key theoretical

concepts by constructing basic musical structures in a limited timeframe.

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

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

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

Production & song analysis workshops

1 W29 (40%)

Popular Music Studies

20 Theory lectures Seminars Tutorials

1.5 Wk 10 (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

27

LEVEL 5

Module Credits Classes Weekly

contact hours Summative



1.5 W10 (30%) W19 (30%) W29 (40%)

1. Appraise a myriad of songwriting techniques and apply

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

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

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



1.5

W10 (30%) W29 (70%)

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

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

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

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

mastered artefacts and trouble shoot basic problems with limited support.

Arranging 20 Theory lectures Arranging workshop

1.5 W19 (30%) W29 (70%)

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

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

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

28

Music Publishing and the Legal Framework

20 Theory lectures Seminars Tutorials

1.5 W20 (40%) W29 (60%)

1. Describe and evaluate historical changes in copyright

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

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

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

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

The Music Industry

20 Theory Lectures 1.5 W20 (40%) W29 (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 3)

29

Music for Moving Image 1

20

Theory lectures Film score workshop

1.5 W19 (30%) W29 (70%)

1. Asses the importance of visual and music aesthetic

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

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

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

Writing for Commission

20 Theory lectures Songwriting workshops

1.5 W19 (40%) W29 (60%)

1. Distinguish the role of musical aesthetic when working

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

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

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

Showcase 20 Theory lectures Portfolio workshops

1.5 W10 (30%) W30 (70%)

1. Identify a unique personal artistic songwriting and

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

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

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

30

LEVEL 6

Module Credits Classes Weekly

contact hours Summative


Song Project 40

Research techniques lectures (term one only)

1

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

1. Deliver a songwriting portfolio that showcases

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

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

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

Supervision 0.4

Personal and Business Development

20 Lecture 1.5

W10 (20%) W27 (80%)

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

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

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

OPTIONS (2 of 6)

31


1.5 Wk 10 (70%) Wk 20 (30%)

1. Appraise advanced songwriting techniques utilised

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

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

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

Song Production


1.5 W19 (30%) W29 (70%)

1. Appraise advanced songwriting techniques utilised

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

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

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

Writing for Stage


1.5 W20 (40%) W30 (60%)

1. Distinguish the role of musical aesthetic when working

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

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

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

32

Music For Moving Image 2

20

Theory lectures Film score workshop

1.5 W27 (60%) W29 (40%)

1. Distinguish the role of composition and visual aesthetic

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

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

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



1.5 W20 (40%) W29 (60%)

1. Construct a self-generated music production style and

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

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

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

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

Music Pedagogy in Practice

20

Theory lectures Practical workshop Micro-teaching

1.5

W26-29 (50%) W29 (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.

ba (hons) songwriting course specification...4 6. career and progression opportunities the ba (hons)...

Documents