course handbook 2018-2019 ba (hons) in commercial modern … · 2018-10-31 · 10 26/11/2018 eot...
TRANSCRIPT
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Course Handbook 2018-2019
BA (Hons) in Commercial Modern Music
Year 2
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Content
• Content.......................................................................................................................... 2
• Welcome Back!........................................................................................................... 6
• Year 2 BA (Hons) Assessment Calendar ................................................................ 8
• Academic Development & Quality Assurance ....................................................... 9
• General Assessment Regulations ........................................................................... 9 Exam grades ......................................................................................................................................... 9 Written and Practical Examinations ..................................................................................................... 9 Plagiarism ........................................................................................................................................... 11 Referencing – The Harvard Reference System (HRS) ......................................................................... 11 Adhering to Submission Deadlines ..................................................................................................... 11 Assessment Feedback Process ........................................................................................................... 12 Extensions .......................................................................................................................................... 12 Disability ............................................................................................................................................. 15
• Policy on plagiarism, collusion and misconduct ................................................ 16 Academic misconduct ........................................................................................................................ 16 Collusion ............................................................................................................................................. 16 Plagiarism ........................................................................................................................................... 16 Investigation of misconduct ............................................................................................................... 16
• Award Criteria and Classification Overview ........................................................ 17 Generic Marking Scheme ................................................................................................................... 17 General Marking Scheme BA (Hons) Commercial Modern Music ..................................................... 17 BIMM Institute Dublin Undergraduate Categorical Marking Scheme ............................................... 19
• The Student Complaint Process .................................................................................... 20
• Procedures Following the Publication of Results ............................................... 22 Viewing of Assessments/Examination Scripts .................................................................................... 22 Re-checks ............................................................................................................................................ 22 Re-Marks ............................................................................................................................................ 22 Appeals ............................................................................................................................................... 23 The Appeals Procedure ...................................................................................................................... 24
• Exams/Assessments FAQ ...................................................................................... 26 Assessment Submission Form ............................................................................................................ 28
• Moodle ....................................................................................................................... 29
• Registration and Student Card ...................................................................................... 30
• Details on how to access the e-learning support ........................................................... 30
• Communication arrangements for the programme ....................................................... 30
• Class Timetables .......................................................................................................... 31
• Module Information.................................................................................................. 32 DN/MM618 Styles 2 ............................................................................................................. 32
Module Summary ............................................................................................................................... 30 Aims .................................................................................................................................................... 30
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Indicative Study Topics ....................................................................................................................... 30 Teaching & Learning Methods ........................................................................................................... 30 Formative Assessment ....................................................................................................................... 30 Learning Outcomes ............................................................................................................................ 31 Assessment ......................................................................................................................................... 31 Assignment Brief ................................................................................................................................ 31 Assessment Criteria ............................................................................................................................ 33 Reading List ........................................................................................................................................ 34
DN/MM619 Techniques 2 .................................................................................................... 35 Module Summary ............................................................................................................................... 35 Aims .................................................................................................................................................... 36 Indicative Study Topics ....................................................................................................................... 36 Teaching & Learning Methods ........................................................................................................... 36 Formative Assessment ....................................................................................................................... 36 Learning Outcomes ............................................................................................................................ 36 Assessment ......................................................................................................................................... 37 Assignment Brief ................................................................................................................................ 37 Assessment Criteria ............................................................................................................................ 38 Reading List ........................................................................................................................................ 39
DN/MM614 Essential Development Skills ............................................................................. 41 Module Summary ............................................................................................................................... 41 Aims .................................................................................................................................................... 42 Indicative Study Topics ....................................................................................................................... 42 Teaching & Learning Methods ........................................................................................................... 42 Formative Assessment ....................................................................................................................... 42 Learning Outcomes ............................................................................................................................ 42 Assessment ......................................................................................................................................... 43 Assignment Brief ................................................................................................................................ 43 Assessment Criteria ............................................................................................................................ 44 Reading List ........................................................................................................................................ 45
DN/MM611 Applied Music Business and Study Skills ............................................................ 46 Module Summary ............................................................................................................................... 46 Aims .................................................................................................................................................... 47 Indicative Study Topics ....................................................................................................................... 47 Teaching & Learning Methods ........................................................................................................... 47 Formative Assessment ....................................................................................................................... 47 Learning Outcomes ............................................................................................................................ 47 Assessment ......................................................................................................................................... 48 Assignment Brief ................................................................................................................................ 48 Assessment Criteria ............................................................................................................................ 49 Reading List ........................................................................................................................................ 50
DN/MM616 Performativity and Live Music ........................................................................... 51 Module Summary ............................................................................................................................... 51 Aims .................................................................................................................................................... 52 Indicative Study Topics ....................................................................................................................... 52 Teaching & Learning Methods ........................................................................................................... 53 Formative Assessment ....................................................................................................................... 53 Learning Outcomes ............................................................................................................................ 53 Assessment ......................................................................................................................................... 54 Assignment Brief ................................................................................................................................ 54
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Assessment Criteria ............................................................................................................................ 56 Reading List ........................................................................................................................................ 56
DN/MM612 Applied Theory, Transcription and Keyboard Skills ............................................. 58 Module Summary ............................................................................................................................... 58 Aims .................................................................................................................................................... 59 Indicative Study Topics ....................................................................................................................... 59 Teaching & Learning Methods ........................................................................................................... 59 Formative & Summative Assessment................................................................................................. 59 Learning Outcomes ............................................................................................................................ 60 Assessment ......................................................................................................................................... 60 Assignment Brief ................................................................................................................................ 60 Assessment Criteria ............................................................................................................................ 61 Reading List ........................................................................................................................................ 62
DN/MM617 Songwriting Techniques 2 ................................................................................. 63 Module Summary ............................................................................................................................... 63 Aims .................................................................................................................................................... 64 Indicative Study Topics ....................................................................................................................... 64 Teaching & Learning Methods ........................................................................................................... 64 Formative Assessment ....................................................................................................................... 64 Learning Outcomes ............................................................................................................................ 64 Assessment ......................................................................................................................................... 65 Assignment Brief ................................................................................................................................ 65 Assessment Criteria ............................................................................................................................ 66 Reading List ........................................................................................................................................ 67
DN/MM613: Arrangement Analysis ...................................................................................... 68 Module Summary ............................................................................................................................... 68 Aims .................................................................................................................................................... 69 Indicative Study Topics ....................................................................................................................... 69 Teaching & Learning Methods ........................................................................................................... 69 Formative Assessment ....................................................................................................................... 69 Learning Outcomes ............................................................................................................................ 70 Assessment ......................................................................................................................................... 70 Assignment Brief ................................................................................................................................ 70 Assessment Criteria ............................................................................................................................ 71 Reading List: ....................................................................................................................................... 71
DN/MM615 Live Performance Workshop (SW) ..................................................................... 73 Module Summary ............................................................................................................................... 73 Aims .................................................................................................................................................... 74 Indicative Study Topics ....................................................................................................................... 74 Teaching & Learning Methods ........................................................................................................... 75 Formative Assessment ....................................................................................................................... 75 Learning Outcomes ............................................................................................................................ 75 Assessment ......................................................................................................................................... 75 Assignment Brief ................................................................................................................................ 76 Assessment Criteria ............................................................................................................................ 77 Reading List ........................................................................................................................................ 77
• Overview ................................................................................................................... 79 Educational Aims ................................................................................................................................ 80 BA Year 1 & 2 Level 6 Course Learning Outcomes ............................................................................. 81 BA Yr. 3 Level 7 Course Learning Outcomes ...................................................................................... 82
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
BA Yr. 4 Level 8 Course Learning Outcomes ...................................................................................... 83
• Core Structure Diagram – Instrumental Stream .................................................. 84
• Core Structure Diagram – Songwriting Stream ................................................... 86
• Major Themes ........................................................................................................... 88
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Welcome Back!
Dear BIMM Musician,
Welcome back to what is set to be a very exciting second year on the BA (Hons) in Commercial Modern Music at BIMM Institute Dublin. Your first year on the BA programme was a remarkable journey where we as a team were privileged to facilitate your growth as performers and artists. It was inspiring to see the level of improvement and confidence which you had all achieved by the end of the year. We hope that you will be able to take the many lessons learned in first year and apply this knowledge to your studies in the coming year. One of the most powerful skills is the understanding that you only get out what you put in, in other words if you work hard you will reap the dividends. These remaining 3 years are a wonderful opportunity to hone your skills and explore all the areas and facets which contribute to reaching your full potential as a musician and performer. Enjoy your time here and don’t miss out on opportunities- collaborate with your fellow students and continue to get involved in as many bands and projects as you can- this will all contribute to enriching your knowledge and enhancing your skills. As you already know, we are here to guide you through your time at the college and to help you achieve your ultimate goal of successfully completing your degree, and having a sustained career in the music industry. If you feel you need support at any time you know we will do our best to help you in any way we can.
We are committed to having the best music college in Ireland, providing an inspiring environment where all musicians are treated as individuals, can learn and develop their career paths, and where the very best musicians and industry professionals are keen to make a contribution.
Please read through this manual and understand that everything in it is there for you to get the most out of your time at BIMM Institute Dublin.
We wish you the very best for a fulfilling, creative and productive time with us in your second year. Good luck, make the most of this exciting opportunity and don’t forget we’re here to help with any problems you may encounter.
Dara Kilkenny
Executive Principal
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Dear BIMM Musician,
Welcome back to your second year at BIMM Dublin and congratulations for completing
last year successfully!
It was very encouraging to see such an enthusiastic approach and high level of achievement last year and to read such positive feedback from you. Your feedback has informed many exciting changes to the course, including the development of new modules such as Essential Development Skills and Performativity and Live Music. All of us here are committed to ensuring that the quality of education you receive is second to none, but remember, we need you to help us make modules work; please attend all of your classes so that you can share your ideas and skills with your tutors, but most importantly, with each other.
We have a great team of dedicated tutors as you know, and a few more joining us who combined, have a wealth of real world experience to draw upon. We’ve managed to attract these top musicians because BIMM Institute Dublin’s reputation is growing and you are the ones leading the way.
Remember that in addition to your structured classes, you can book supplementary tutorials with a tutor from any discipline and take advantage of learning in that unique situation. You’ve probably noticed that time can seem to go quickly and therefore use every single resource as best you can to further your development as a musician. Yes, there’s a lot of competition, but there are also a lot of opportunities for those ambitious musicians who are dedicated to learning, practice and hard work.
Music is a creative art form and you are at the vanguard of the development of that art form. There are many ways to apply that creativity, and many different roles within the industry to consider. As we look towards the next year and beyond, we will help you realise the potential you have, in whatever direction you wish to take it.
I hope you’ll continue to perceive all of the staff here as being approachable. We’re here ultimately to support the mechanisms that help you achieve both academically and in your career. Most of all, I hope you have a great and enjoyable year!
Mark Greaney
Head of Education
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Year 2 BA (Hons) Assessment Calendar You have a varied assessment programme, including on-going course work, practical exams, written submissions and written examinations.
This table shows you what assessments to expect. Classes are held each week, except on non-written assessment weeks (greyed-out below):
Wk. W/C
DN/MM618 DN/MM619 DN/MM611 DN/MM614 DN/MM616 DN/MM612 DN/MM617 DN/MM613 DN/MM615
Styles 2 Techniques 2 App. Music Business & Study skills
Essential Development Skills Performativity &
Live Music
App. Music Theory, Transcription & Keyboard Skills
S/W Tech Arrange. Analysis
LPW (SW)
Term 1
1 17/09/2018 EDS Introduction
2 24/09/2018 Cultural Theory, An Introduction
3 01/10/2018
4 08/10/2018
5 15/10/2018
6 22/10/2018 Live and Lyrical Auditions
Review Week 29/10/2018
7 05/11/2018
8 12/11/2018 L&L Gig
9 19/11/2018
10 26/11/2018 EOT Gig Auditions
11 03/12/2018 Presentation
12 10/12/2018 Presentation EOT Gig Keyboard Skills
and Viva Mock MD Exams
Term 2
13 07/01/2019 Personal & Professional
Development Mock MD Exams
14 14/01/2019 Musical Direction
15 21/01/2019 Project Plan
16 28/01/2019
17 04/02/2019 Composition Portfolio 1
L&L Gig
18 11/02/2019 Solo Performance
Exam 1
Technical Exercises, Sight Reading & Viva
Development Plan
19 18/02/2019 Solo
Performance Exam 1
Technical Exercises, Sight Reading & Viva
Research Methods,
Academic Writing & Pedagogy, An
Introduction
20 25/02/2019 Ensemble
Performance 1
21 04/03/2019 Keyboard Skills and Viva Voce
22 11/03/2019 EOT Gig Keyboard Skills and Viva Voce
Review Week 18/03/2019
Term 3
23 25/03/2019 Thematic Journal
24 01/04/2019
25 08/04/2019 Style File Ensemble
Performance
Easter Break 15/04/2019
26 29/04/2019 Solo Performance
Exam 2 Technical
Exercises & S/R 2 Written
Business Plan
Composition Portfolio 2
Portfolio L&L Gig
27 06/05/2019 Solo Performance
Exam 2 Technical
Exercises & S/R 2 Research Project
Ensemble Performance 2
28 13/05/2019 Solo
Performance Exam 2
Technical Exercises & S/R 2
Aural Transcript. and written exam
29 20/05/2019 Solo Performance
Exam 2
Technical Exercises & S/R
2 EOT Gig
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Academic Development & Quality Assurance
BIMM is committed to maintaining the highest standards of academic and vocational excellence in modern music education. As part of this obligation we continue to look for ways to communicate information about this mission to all stakeholders including our staff, students (current and prospective), and their parents and guardians.
To accomplish this, we have created this page to make information available on the way we assure academic standards and manage and enhance the quality of learning opportunities we provide to our students in partnership with our awarding institutions.
http://www.bimm.ie/academic-quality/
General Assessment Regulations
Examinations are conducted in accordance with the DIT General Assessment Regulations. Students are expected to familiarise themselves with all the regulations and procedures:
http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/
Exam grades
Exams are marked by the BIMM teaching faculty and moderated by an Internal Verifier. The examination procedures are subject to external inspection and moderation from DIT. This ensures that we mark consistently within our own departments and also to national standards. Be aware marks given are not final until verified by DIT.
Written and Practical Examinations
• It is the student’s responsibility to ascertain the date, time and venue for written and practical examinations. Timetables will be published well in advance of the examinations.
• Students should familiarise themselves with the content and assessment methods of the modules in which they are enrolled. This information is included in this manual.
• Take careful note of the Assessment Calendar in this manual, outlining specific deadline dates. Details for all assessments are outlined within each module section.
• Grades and/or feedback will be sent to students throughout the year however results are provisional until approved by the examination board at the end of the year.
• If a student is referred in a module (i.e. has not passed it) the examination board will look at the components of the module and determine what a student is required to do in terms of re-examination. The options normally available are:
1. Repeat written/practical examination. 2. Redo assessments/assignments/essays/projects
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
3. Repeat written examination plus redo assessments/assignments etc.
• A referral in a module is regarded as a second/subsequent attempt. Students who pass a referred module will have a maximum mark of 40% recorded for that module.
• A deferral in a module - usually for medical reasons and supported by a Personal Circumstances Form (see link below) means that a student can undertake reassessment without any penalties.
• All supplementary submissions whether referrals or deferrals are subject to one final submission deadline. The five day late penalty is not applicable to any supplementary submissions or to assignments where an extension has been granted.
• Students will need to be available during the first half of August to undertake written/practical supplemental examinations.
• From the commencement of Academic Year 2014 – 2015, students may only make four attempts at any module (including the first try). Please note that it is possible to use up two attempts in one year.
• The classification of the final degree awarded is weighted 40/60 between third and fourth year marks respectively.
http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/
• Essay & Written Work: It is each student’s own responsibility to ensure that all submitted assignment files are in correct working order at the time of submission. If your files are found to be corrupt, missing or are not accessible to the examiner due to being in the wrong format you will receive a zero grade for that element.
• Format: All written submissions must be Word-Processed as a Microsoft Office Word Document. When submitting through the VLE (Virtual Learning Environment) only .doc or pdf files should be used.
• Submission deadlines: These will be issued to you well in advance of the date, usually in a detailed brief. The brief will specify how the work should be submitted (e.g. via your VLE or another mode). Follow the brief carefully and ensure that you submit in the correct format.
• Spacing: Double-spaced (so the marker has space to write in comments)
• Font: 11 or 12 point type in a clear font such as Times or Arial
• Information: Each page must include your student (candidate) number (in the header) and a page number (in the footer)
• Presentation: For hand in submissions presentation is specific to the assignment brief given.
• Media: USBs, CDs or additional materials should be firmly attached to the hand in submission and should always be checked to ensure that they are in working order.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
• Bibliography: All written work should include a Bibliography and be referenced using the Harvard Referencing System – see below
• Submission Form: A submission form for non-electronic submissions should be attached to your assignment.
• Transcription/notation submissions: Please refer to the task brief issued to you by your tutor for specific requirements relating to transcription/notation submissions.
• Word count: Word counts must be stated at the beginning of all written submissions. There is a 10% margin on word counts (plus or minus 10%) and written work falling above or below this 10% margin will be penalised by 10%. For example a grade of 70% will be reduced to 60% if the word count is more than 10% over or under the required amount.
• Original Material: It is the student’s responsibility to keep copies of all their work, either in digital, print or photocopied form, including CDs and recorded submission. Important: Work will not be accepted if not submitted in the above format.
Plagiarism
All written work (dissertations and essays) must be appropriately referenced. Students who plagiarise will get zero marks and may face disciplinary measures. For further information on this topic please see visit Policy on Plagiarism, Collusion and Misconduct and DIT General Assessment Regulations: http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/
Referencing – The Harvard Reference System (HRS)
When you submit written work, you are confirming that the work that you have submitted is your own and that you have referenced any external sources using the following academic conventions:
All written work that uses material from other sources needs to acknowledge the author and location of the quoted work. The Harvard (author-date) system is one way of laying out this information in a standardised form. BIMM requires that you use this method of referencing for all your essays and written submissions.
Please see your “Student Resources” section on Moodle for the BIMM Harvard Referencing Guide. A hard copy of this guide is also available in the student common room.
Adhering to Submission Deadlines
• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five working day late period has passed.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.
• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.
Assessment Feedback Process
• While attending BIMM you will receive written feedback on all your assessments and assignments.
• This feedback will be made available (along with your grade) within 15 working days of your assessment date.
• BIMM’s exams team will contact you directly via your DIT email address to alert you once your feedback is available. So be sure to check this email account regularly.
• Once you have received confirmation that your feedback is available, you will be able to view it directly on Moodle. Instructions as to how you may access this will be included in the email from the exams team. (It is worth noting that the feedback will usually be available under the assessment week in Moodle)
• If you experience an issue accessing your grade and feedback, contact the BIMM exams team directly.
Extensions
In exceptional cases where a student knows for good reason that a deadline cannot be met in advance, they may request an extension of a deadline. A form should be sought from the Student Services Team and this form should be submitted two working days* IN ADVANCE of the deadline – it is expected that such requests will normally be the exception rather than the rule. The circumstances under which such a request would be considered are:
• Serious personal and/or family reasons;
• prolonged period of ill health supported by medical documentation (please note assessment deadlines are communicated well in advance to allow adequate time for students to prepare. Therefore illness in the week before a deadline, unless of a grave nature, will not be considered).
Extension requests may not be used for:
• General work pressure
• Tight deadlines
• Unavailability/breakdown of equipment, technology etc.
• Personal disruptions (weddings, holidays etc.)
*In certain circumstances and where there is a justifiable reason for such, an extension request may be considered within two working days of the deadline. No requests will be considered after the deadline has passed.
Students who are granted an extension of an assignment deadline, must submit before the agreed new deadline and will not be permitted to submit within an additional late penalty period. All Extensions are given at the discretion of the Student Services Team.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Personal Circumstances
DIT General Assessment Regulations (second edition 2009), among other things, make provision for an Examination candidate who feels that personal or other serious difficulties, for example accident, illness or bereavement, which were largely unforeseen and adversely affected their performance in an assessment and wishes to bring this to the attention of the Examination Board. It should be noted that the examination board will normally require the student to complete the learning outcomes for a module.
The PC1 Form can only be used to determine if a student should undertake an alternative form of assessment or if a student’s next attempt at an assessment / Examination will be considered as their first attempt or second (or subsequent) attempt. The PC1 Form cannot be used to alter a mark or exempt a student from completing the learning outcomes of the programme. Personal Circumstances as envisaged under this regulation relate to serious adverse factors only.
Situations that the PC1 Form should not be used include:
• Reporting Quality Assurance Issues
• Complaining about general work pressure
• Informing the College of Personal Disruptions (Holidays / Weddings etc.)
• Informing the College about Financial Constraints
• Making excuses for missing assessments / Examinations / deadlines
• Complaining about tight deadlines
• Reporting the unavailability / breakdown of equipment, technology etc.
• Complaining about class room delivery of modules.
Deadline for submission of PC Form
• In the case of course work, the deadline for submitting a Personal Circumstances form is normally the same as the scheduled hand-in date for the assignment.
• In the case of written or practical examinations, the completed form should be submitted not later than two days after the last examination taken.
The Examination Board may take such action as it sees fit to take into account the evidence provided by the student. While there may be an acceptance that personal circumstances have resulted in poor performance in coursework or examinations, the Examination Board will normally require the student to complete the learning outcomes for a module.
In cases where a student has a temporary disability, i.e. as a result of an accident and requires special arrangements, they should immediately contact The Student Support & Quality Department who will liaise with the Disability Service if necessary.
The Disability Service requires medical documentation to register any students for temporary exam accommodations.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Assessment Schedule Deferral Request
Please note that in certain exceptional circumstances we may be able to amend the assessment schedule to facilitate industry leave of significant professional value to the student and/or where there is an unforeseeable obstacle to the student sitting the exam on a particular day e.g. bereavement. However, requests to amend the assessment schedule must be made in advance of accepting any professional commitments. Students must also make contact with the Exams office or their Student Services officer with as much advance notice as possible if they would like to request that their exam take place on a specific date or time. Slots are final once they have been communicated to students, and we will not consider any timetable change requests, including swap requests, once they have gone out. Please also note that where all students sit the assessment at the same time, e.g. a written exam, there can be no flexibility with the time or date of the assessment.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Disability
It is the policy of BIMM Dublin to facilitate by all appropriate means the participation of students with a disability in the Institute’s programmes.
All students with a disability must be registered with the Disability Service and provide medical documentation or psycho-educational reports. All exam accommodation for students in the Institute are in accordance with the exam accommodations requirements of the Disability Advisors Working Group (DAWN) examination policy.
In circumstances where, as a result of disability, a student is unable to undertake assessment by the means defined for the stage/year then special arrangements may be approved as follows:
Additional time may be permitted for the completion of an invigilated assessment or for the submission of coursework; only with pre-approval from course coordinator for in term coursework.
Special facilities such as Braille, audiotape or computer, with or without specialised software, may be provided in an Examination Hall as an alternative to a printed examination paper and/or answer books;
The employment of special facilities such as amanuensis, reader, interpreter and personal assistants; Students must fulfil specific criteria as required by the DAWN Examinations Policy to avail of these exam accommodations.
Special alternative forms of assessment, only through consultation with the relevant school.
Procedure for requesting special assessment arrangements
A request for special assessment arrangements should be made by the student with disability, normally at the beginning of the academic year, but not later than six weeks prior to the assessment.
A request for special assessment arrangements should be made in the first instance to the Disability Liaison Officer who, in consultation with the Student Services team at BIMM, shall ensure that appropriate arrangements are made.
The student with a disability shall be required to formally indicate in writing to The Student Services Department that the special arrangements proposed are acceptable for the purposes of the assessment.
The Student Services Department shall write out to all students identifying their specific accommodations and in cases where the student required a separate room, advising them where to go for their examination.
The Module Board will be notified of any student that has been assessed using special arrangements.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Policy on plagiarism, collusion and misconduct
Academic misconduct
It is an offence for any student to be guilty of or party to, attempting to commit or committing collusion, plagiarism, or any other misconduct in an examination or in the preparation of work that is submitted for assessment.
Misconduct in assessment exercises, examinations or in the presentation of marks achieved elsewhere is conduct likely to be prejudicial to the integrity and fairness of the examination process. The submission of a dissertation, essay or any other assessment exercise will be considered by the examiners to be a declaration that it is the candidate's own work.
Collusion
Collusion is the preparation or production of work for assessment jointly with another person or persons unless explicitly permitted by the examiners. An act of collusion is understood to encompass those who actively assist others as well as those who derive benefit from others’ work. Where joint preparation is permitted by the examiners but joint production is not, the submitted work must be produced solely by the candidate making the submission. Where joint production or joint preparation and production of work for assessment is specifically permitted, this must be published in the appropriate course documentation. Assessments in this handbook are clearly marked as individual or group work, please consult your tutor or module leader if you are unsure about group or individual assignments.
Plagiarism
Plagiarism is the use, without acknowledgement, of the intellectual work of other people, and the act of representing the ideas or discoveries of another as one’s own in written work submitted for assessment. To copy sentences, phrases or even striking expressions without acknowledgement of the source (either by inadequate citation or failure to indicate verbatim quotations), is plagiarism; to paraphrase without acknowledgement is likewise plagiarism. Where such copying or paraphrasing has occurred the mere mention of the source in the bibliography shall not be deemed sufficient acknowledgement; each such instance must be referred specifically to its source. Verbatim quotations must be either in inverted commas, or indented, and directly acknowledged.
Investigation of misconduct
If a member of staff has sufficient reason to suspect that misconduct has taken place, an investigation into the case will be held. Candidates must be available, if required, to attend an academic misconduct hearing.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Award Criteria and Classification Overview
Generic Marking Scheme
Marking Scheme (BA) Degree qualifications are divided into First, Upper Second (2:1), Lower Second (2:2) and Third Class grade bands. Assessments are marked as percentages, which translate to class marks as follows:
First Class >70%
Second Class,
Division I 60-69.99%
Second Class,
Division II 50-59.99%
Third Class 40-49.99%
General Marking Scheme BA (Hons) Commercial Modern Music
90%-100%
Exceptional work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding. The work demonstrates a very high level of technical competence and skill and is supported by external knowledge that is meticulously referenced where required
80%-89%
Outstanding work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding of the subject. The work demonstrates a high level of technical competence and skills and is supported by external knowledge accurately referenced as appropriate
70%-79%
Extremely good work with presentation of a high standard. There is coherence of ideas and demonstration of thorough knowledge and understanding. The work demonstrates a strong level of technical competence and skills and is supported by external knowledge which has been properly referenced where necessary
60%-69%
The work is well presented and coherently structured. There is evidence of a sound knowledge and understanding of the issues with theory linked to practice where appropriate.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
The work demonstrates a good level of technical competence and skills and is supported by external knowledge that is well referenced where required
50%-59%
Work is of a good standard and presentation is acceptable but with some errors. There is knowledge and understanding of issues under discussion and some evidence of the application of knowledge and ideas where appropriate. The work demonstrates a sufficient level of technical competence and skill and is supported by appropriate references to external knowledge as required
40%-49%
Presentation is acceptable but attention to structure and style is required. The content is relevant but largely descriptive or unimaginative. There is evidence of a reasonable level of knowledge and understanding but there is limited use of external knowledge to support the ideas. Some links are made to external knowledge where appropriate
30%-39% – Fail
The work is poorly structured and presented. Some material may be irrelevant. There is little evidence of technical competence or skills. Content is based largely on taught elements with very little evidence of independent study and little or no reference to external knowledge.
20-29% – Fail
Fails to meet the brief. The work is very poorly structured and presented. Much material is irrelevant. There is minimal evidence of technical competence or skill. Content is based almost entirely on taught elements with very little evidence of any purposeful engagement with or reference to external knowledge.
0-19 % - Fail
The work is extremely poorly structured and presented. It demonstrates no real knowledge or understanding of key concepts and principles. Much material is irrelevant. No effective use of external knowledge. No evidence of technical competence or skill. Not a genuine attempt to engage with the assessment requirements and/or subject matter.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
BIMM Institute Dublin Undergraduate Categorical Marking Scheme
For use in the marking of all BA assessments except unseen examinations with separately published mark schemes.
Mark Category Equivalent Classification
BIMM HE Generic Mark Scheme
100 95 90 85 80 75 72
First
90-100
80-89
70-79
68 65 62
2i
60-69
58 55 52
2ii
50-59
48 45 42
3rd
40-49
38 35
High Fail (Compensation
Zone)
30-39
30 20 10 5 0
Fail
20-29
0-19
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
The Student Complaint Process
The procedures below outline the sequential stages to be followed when a student
makes a complaint in relation to their programme of study. Any student on a programme
of study leading to DIT award who wishes to make a complaint should do so as soon as
the issue leading to the complaint emerges and within the semester in which the issue
has emerged.
A class representative or DITSU officer can make the complaint on behalf of a larger
student group.
Stage 1: Head of School
a) The Complainant submits the Complaint Form to the Head of School. The
Complainant should ensure that they retain copies of the Complaint Form sent to
the Head of School, as they must submit a copy of this form, should they wish to
pursue the complaint through the stages outlined below.
b) The Head of School shall consider the complaint. If the Head of School upholds
the complaint he/she shall agree and implement action to be taken to resolve the
matter.
c) If the Head of School dismisses the complaint, the Complainant may bring the
complaint forward to the College (via the College Director) within 5 working days
of the notification of the decision of the Head of School. The Complainant should
forward a copy of the Complaint Form sent to the Head of School, along with
relevant correspondence.
d) The decision of the Head of School is communicated in writing to the
Complainant and Chair of Programme Committee within 10 days of receipt of the
Complaint Form.
Stage 2: College
a) The College Director or nominee shall consider the complaint. If the complaint is
upheld, the College Director shall decide action to be taken to resolve the matter
and shall refer this decision to the Head of School for implementation.
b) The decision of the College Director will be communicated in writing to the
Complainant, Head of School and Chair of the Programme Committee within 10
working days of receipt of the Complaint Form.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Stage 3: Institute
a) If College Director dismisses the complaint the Complainant may submit the
complaint to the matter to the Director of Academic Affairs and Registrar
within 5 working days of the notification of the decision of the College Board.
The Complainant should forward a copy of the Complaint Form sent to the Head
of School, along with relevant correspondence.
b) The Director of Academic Affairs and Registrar considers the case. If the
complaint is upheld, the Director of Academic Affairs and Registrar shall decide
action to be taken to resolve the matter and shall refer this decision to the Head
of School for implementation. The decision of the Director of Academic Affairs
and Registrar is final.
c) The decision of the Director of Academic Affairs and Registrar is then
communicated to the Complainant, College Director, Head of School and Chair of
Programme Committee.
Heads of School, College Directors and the Director of Academic Affairs must keep a
record of complaints submitted along with written evidence and related correspondence
in accordance with the relevant Records Retention schedule.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Procedures Following the Publication of Results
Viewing of Assessments/Examination Scripts
Candidates who wish to discuss their examination performance in any assessment should contact the School/Department. Each semester Examination Offices publish a calendar of dates for the publication of results and Schools publish dates for the viewing of examination scripts. Viewing of examination scripts and provision of feedback shall normally be scheduled within four days of the publication of results. The Head of School or nominee shall produce the assessed work and demonstrate to the candidate the basis on which the marks were awarded.
Re-checks
A candidate wishing to have an examination paper re-checked should make a formal request (on form A/R 1) which should be returned together with the requisite fee to the Examinations Office within three working days of the date scheduled for the viewing of the examination script.
The re-check process shall be carried out under the direction of the Head of School, and shall normally involve establishing that all attempted parts of each question were marked, and that no computational error occurred during the marking process or the recording of the marks. It shall also involve establishing that all answers, part-answers and/or other assessment materials have been assessed.
Where the process gives rise to a change of mark, it shall be open to the Head of School to require that a re-check be undertaken in respect of all examination scripts in the module concerned. Where this course of action is deemed appropriate, the Head of School may nominate another examiner to carry out the re-check.
Re-Marks
A candidate may seek a re-mark of the examination paper or assessment by submitting form A/R 2 together with the requisite fee to the Examinations Office within five working days of the date scheduled for the viewing of the examination script or within two working days of the submission of the recheck application form.
The Head of School or nominee will make the necessary arrangement for the re-marking of the assessment. In the event that the recheck gives rise to a change of mark, the Head of School shall notify the Examinations Office with a view to reconvening the relevant Examination Board.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Appeals
The appeals process provides for an appeal by a candidate against a decision of the Examination Board on the grounds specified here:
i. that the Regulations of the Institute have not been properly implemented;
ii. that circumstances exist which may not have been specifically covered by the Regulations;
iii. that there is new, attested, documented and relevant information, that was not made available to the Examination Board for justifiable reason, and therefore not considered.
These are the only grounds on which an appeal may be made.
The Appeals Panel and Appeals Board(s)
The function of the Institute’s Appeals Board(s) shall be to adjudicate on an appeal against the provisional examination results of the Examination Board having regard to one or more of the specific grounds as set out in [14.2] above.
An Appeals Panel shall be composed of not more than thirteen persons, including the Chairperson, two Vice Chairpersons, all of whom shall be members of academic staff and shall be appointed for a two year period. The Head of Quality Assurance and Academic Programme Records is an ex-officio member of the panel. To facilitate the simultaneous hearings of appeals, Appeals Board(s) may be constituted from the Panel comprising the Chairperson or a Vice-Chairperson who will act as Chairperson to the Board together with at least three other members of the Panel. See [14.2.2] in relation to eligibility of appeals.
Any member of the Appeals Panel who was a member of the Examination Board at which an appellant’s examination results were determined or who was previously involved in any way at an earlier stage of a particular appeal shall not be present for the hearing other than to present relevant information [see 14.4.2] and shall not otherwise adjudicate on the case.
At the end of the initial two-year period, half the membership of the Panel shall stand down. Thereafter half the membership shall stand down on an annual basis. A retiring member shall not be eligible for reappointment until a further two year period has elapsed.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
The Appeals Board(s) shall meet on the scheduled dates, which shall be published annually and shall hear the appeals presented to it for that occasion and make determination thereon. All necessary information shall be processed through the Quality Assurance and Academic Programme Records Office and presented in writing to the Board for each hearing.
The Appeals Procedure
An appeal must be lodged with the relevant College Administrator on the Appeals Form (Form A/A 1) within seven working days of the date scheduled for the viewing of the examination script. The application must be accompanied by the appropriate fee which shall be refunded if the appeal is successful.
Appeals lodged shall be referred promptly to the College Director, who shall be responsible for initiating the preparation of a written report from the relevant Head of School. The form together with the written report and other documentation to accompany the appeal shall be referred to the Quality Assurance and Academic Programme Records Office within 10 working days, who shall have responsibility for presenting them to the Appeals Eligibility Sub-Group;
An Appeals Eligibility Sub-Group comprising:
Chairperson;
Vice Chairperson and;
the Director of Academic Affairs and Registrar
shall convene to determine whether there are valid grounds for an appeal under the Regulations and shall bring a recommendation in relation to the eligibility/ineligibility of the application to an Appeals Board.
In the event that an appeal has not been heard prior to the commencement of the academic stage the appellant shall be entitled to apply for temporary attendance on the following year of the programme pending the outcome of the appeals process. If the appeal is not upheld the temporary registration shall terminate.
The parties to an appeal are the Institute and the candidate. However, the Appeals Board shall consider all evidence (oral and written) relevant to the appeals listed for hearing and may, at its discretion, consult other parties where this is considered appropriate.
The Head of School, or nominee, shall present the written report to the Appeals Board and respond to matters raised by the Board.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
The appellant shall be invited to present the case in person to the Appeals Board and shall indicate on the form [see 14.4.2] if she/he wishes to appear and/or be represented by a third party e.g. DITSU.
The decisions of the Appeals Board meeting in private session shall normally be formulated by consensus. Where the Board is divided, the outcome shall be decided by a majority decision. In the event of an equality of votes the Chairperson of the Board shall exercise a casting vote.
No change shall be made retrospectively in assessment regulations for the particular assessment involved in the appeal.
The Appeals Board shall notify in writing the Appeals Panel, the appellant, the Chairperson of the Academic Council, the College Director, the Head of School and the College Administrator of its decision as soon as possible.
The decisions of the Appeals Board(s) shall be final and binding on the Institute and the appellant.
The Chairperson of the Appeals Panel shall present to Academic Council each academic year a written report on the work of the Panel.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Exams/Assessments FAQ
What happens if I can’t attend an exam because of illness or other reasons? You may be granted a deferral (rescheduling of the exam) by completing a Personal Circumstances form (to be requested from the Student Support Department). This must be submitted as follows:
• In the case of course work, the deadline for submitting a Personal Circumstances form is the same as the scheduled hand-in date for the assignment
• In the case of examinations, the completed form should be submitted within 2 working days of the exam
A deferral may then be granted at the discretion of the Head of School.
What grounds can I seek a deferral? Things like:
• Illness (supported by a medical note)
• Bereavement or serious illness of a close family member, partner or close friend necessitating absence
• Unavoidable circumstances requiring absence from exams/submission of assessments
• Excessive personal stress where certified by a doctor or counsellor
Deferrals will not be granted, in particular, in the following circumstances:
• Lack of preparedness for exams/assessments (without other mitigating factors)
• Uncertified illness or stress
If I am granted a deferral, can I still sit an Exam/submit the work? Yes you can sit any or all of those exams/submit any or all of the assessment work. We will write to you and tell you the date of the re-sits.
Is there a penalty if I’m granted a deferral? No. Your work is graded as normal.
What happens if I submit an assessment late?
• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five working day late period has passed.
• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.
• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
What happens if I fail an exam? You’ll be ‘referred’. This means you’ll be required to re-sit that exam. The re-sits are called ‘Supplemental exams’ and typically take place in August. Grades are capped at 40%. We will write to you and tell you the date of the re-sits. In the case of referred submitted assessments (essays etc.) we will write to you with details of the new deadlines etc.
If I fail an exam will I fail the module? Not necessarily. The grades for all your exams are combined to make up your overall grade for that module (the breakdown of these are specific to the modules - have a look in your course manual). There are two types of assignment: ‘formative’ and ‘summative’. You must reach the pass mark for a summative assignment which is 40%. The overall pass mark for a module is 40%
What if I don’t reach the overall pass mark for a module? There are two possible outcomes:
• You will fail the module and need to re-sit the exam/re-submit the assignment(s) that you failed (see above).
• If your grade is greater than 35% you may be able to avail of compensation. This is a discretionary process whereby you are allowed to progress because you have good performance in all other modules.
If I fail a module (fail the re-sit) will I be allowed to progress to the following year? Yes. If you have passed all other modules you may be allowed to progress to the next year. It is possible to carry forward that module and re-take it alongside the modules of the next stage. Only ONE module can be carried forward. However, you must pass that module before progressing to the next year.
How do I get my results? We will email you your results and feedback. DIT will also email you (to your DIT email address) with instructions about how to log on to the Electronic Gradebook (EGB) to check all your grades.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Assessment Submission Form
BA (Hons) in Commercial Modern Music
Assignment Submission Form
Your work should be submitted at BIMM Dublin.
In submitting this work for marking you are confirming that you have followed all guidelines on formatting and submissions as laid out in your student manual. In addition, handing in this work marks your confirmation that the
material contained in this assignment is all your own work. Where the work of others has been drawn upon it has been properly acknowledged according to appropriate academic conventions.
................................................................................................................................................ Submission Receipt - Please also complete this section to allow for a quicker hand in.
Course (Tick as appropriate)
BA (Hons) Year 1
BA (Hons) Year 2
BA (Hons) Year 3
BA (Hons) Year 4
Instrument (Tick as appropriate)
Bass
Drums
Guitar
Vocals
Songwriting
Code/ Number Name
Module
Assignment
Word Count
Candidate Number
Date Due
Date
Submitted
Candidate no.
Assignment Code
Module Code
Date of submission
Staff Confirmation
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Moodle
Moodle is the BIMM Institute’s Virtual Learning Environment (VLE). It is an online space containing materials and tools to support and enhance your learning experience. This platform is an integral part of the student experience at the BIMM Institute. It is not only an online extension of your classroom, but is also the place where you will submit digital assignments and receive grades and feedback.
It also contains a wealth of valuable guidance to support you during your studies. You will find your course handbook, important information on assessment deadlines, guides to each module on your course, and important student services information. Each module on your course has a dedicated space where you can access materials used in class and additional study resources.
Moodle is also where you can book tutorials, book rooms to rehearse and study, secure places for master classes and guest lectures, or apply for work experience opportunities
You’ll find links to college news and networking forums, annual monitoring reports, college board of studies and student rep forum minutes, and much more.
Moodle can be accessed directly at moodle.bimm.co.uk, or via the following link: www.bimmstudents.com, where you will also find helpful links to:
CELCAT timetable
EBSCO electronic library
Email, Cloud storage and Apps
IT Support and Resources
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Registration and Student Card
All CPD students are required to enrol with BIMM Institute and to register with DIT. You will receive a pre-enrolment form via email on acceptance of your place. This form should be filled out in advance of the enrolment session which usually take place the week before classes commence. During the enrolment session, you will be issued with a BIMM Institute student card. If, for any reason, your card cannot be provided to you on the day, BIMM Institute staff will instruct you on how to collect it in the future.
You will receive their invitation to register with DIT and instructions on how to complete registration via post. Registration for CPD students is usually completed online. Once registration has been finalised, you will be automatically issued with your log-in details for your DIT email account and instructions on how to collect your DIT student card. Your DIT card is required for access to DIT services such as the library.
Details on how to access the e-learning support
You will receive an email before classes commence which includes your username and password for all BIMM Institute I.T. services, including your timetable and our e-learning platform, Moodle. You can access these I.T. services via our website, www.bimmstudents.com. You can also manage your passwords and user profile on this website.
Any queries relating to I.T. services can be directed to [email protected]. If you do not have access to the correct modules on Moodle, please contact [email protected].
Communication arrangements for the programme
BIMM Institute staff will only communicate with you using your DIT email account, so it is essential that you monitor this account regularly. Your Moodle account will also be linked to your DIT email. You will receive your log-in details for your DIT email account once you have completed your DIT registration.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Class Timetables
CELCAT Calendar is the primary platform through which BIMM students can access their class timetables.
Once enrolment has taken place, each student receives an email with a link to CELCAT Calendar, log in credentials and instructions on how they can log in and view their timetable.
In addition to CELCAT Calendar, BIMM students may also subscribe to a direct feed of their timetable via their smart phone using iCal.
Once students subscribe to iCal, they will be provided with a link that will allow them to view their timetable through their smart phone using Apple Calendar, Google Calendar or Outlook.
Details on how to subscribe to iCal is sent to each student following enrolment and remains available through the Student Resource section of Moodle for the duration of the academic year.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
Module Information
DN/MM618 Styles 2
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM618
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 23 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self-Directed Learning: 163 Hours
Module Leader: Karl Breen Tutors: Mick Tierney
Johnny Boyle
Adam Taylor
Karl Breen
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
30
Module Summary
In this module musicians will take part in genre-based performance workshops which build upon the learning within DN/MM607 Styles 1. This module is designed to increase knowledge of the sounds and development of the high level skills associated with different styles of music. Where DN/MM607 may have ‘scratched the surface’ of a particular style, this module affords the learner the opportunity to investigate a genre in much more detail and a higher level of authenticity and attention to detail will be expected. This expertise is invaluable for anyone wishing to become a working touring or studio musician. Topics include principal exponents, historical context, instrumentation, harmony, improvisation, aural perception, song structure, and associated techniques as used by the world’s most influential artists.
Aims
To enable students to become effective and authorative live and studio performers
To equip students with a comprehensive knowledge of a broad range of popular musical styles and related techniques
To acquaint students with comprehensive knowledge of professional protocols with respect to professional musicianship
Indicative Study Topics
The concepts of authenticity and attention to detail applied to musical performance,
Early performance styles, including Blues and Gospel performance styles of the 1950s and 60s. Styles covered include electric Blues, Rock & Roll, Soul and R&B
Performance styles of the Seventies to the present day. Styles covered include Classic Rock, Metal genres, Reggae, Funk, Jazz, Dance, mainstream Rock, and Indie.
Creative part writing: composition and performance of effective deadline-driven instrumental parts
Stylistic technical development: extending the range of technical development with respect to the effective performance of different musical styles
Teaching & Learning Methods
This module will be delivered utilising a range of methods including practical workshops and demonstrations, small group work, tutor led discussion, student led discussion, audio-visual resources and recording.
Formative Assessment
Formative assessment will help to monitor individual student progress and will include playing in class time, Q&A and individual tutorials, which will be available to all students. During each lesson aural and performance skills will be continually assessed by peers and by the tutor, as will technical, analytical and stylistic insights.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
31
Learning Outcomes
On completion of this module a successful student will be able to: 1. Recognise the fine detail in stylistic elements in various styles of music 2. Apply sophisticated stylistic conventions to original part writing 3. Demonstrate sophisticated stylistically appropriate solo instrumental or vocal
skills
Assessment
No Summative
Assessment
Methods
Length Learning
Outcomes
Addressed
Assessment
Weighting
Formative/
Summative
Assessment
Week
1
Solo
Performance
Exam (2
Pieces)
10 mins 1,2,3 30% Formative W18-W19
2 Style File 1500
words 1 30% Formative W25
3
Solo
Performance
Exam (3
Pieces)
15 mins 1,2,3 40% Summative W26-W29
Assignment Brief
1. Solo Performance Exam – Individual work The solo performance exam will take the form of a 10-minute practical styles assessment, during which students will be required to demonstrate their ability to perform in the various styles covered during the course.
Your tutor will provide you with a full brief prior to the assessment.
Examiners will be looking for apposite stylistic interpretation and necessary arrangement and performance skills.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
32
2. Style File (1500 words)- Individual work
You will submit a 1500-word essay, to demonstrate your understanding of the stylistic requirements associated with the various types of music you have been asked to perform for your Solo Performance assessments, relative to your chosen instrument or discipline. You must -
Provide a rationale for why you chose the specific style or styles you did for your Solo Performance assessments;
Demonstrate an understanding of the requirements and characteristics indicative of those styles, relative to your chosen instrument or discipline;
Provide a reasoned practice and preparation methodology
It’s important you spread your work for this over three stages:
Preparing for your Week 18-19 Solo Performance exam Link your choice for the Week 18-19 Solo Performance exam to the Styles lesson content and any other relevant lessons i.e. what aspects of your lessons at BIMM informed your choice of track, your preparation and your performance in the exam itself?
Reflecting on your Week 18-19 Solo Performance exam How did your performance in the Week 18-19 exam go, based upon your own assessment of your performance and the feedback received. How effective was your preparation process? What lessons have you learned to inform future assessments?
Preparing for your Week 26-29 Solo Performance exam
Outline and Justify your choices for the week 26-29 Solo Performance exam, linking them to your week 18-19 Solo Performance exam and your studies throughout this module.
In addition:
Use appropriate academic reading and media sources to support your arguments: here describe artists that you have researched to achieve authentic style phrasing, mannerisms or techniques
Essays should include a minimum of two researched examples and cited quotations, together with a full bibliography using the Harvard Referencing System.
(Please see the General Assessment Regulations in this manual for “Submission of Written Work” and “Essay & Written Work Format”)
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
33
3. Solo Performance Exam – Individual work
The solo performance exam will take the form of a 15-minute practical styles assessment, during which students will be required to demonstrate their ability to perform in the various styles covered during the course.
Your tutor will provide you with a full brief prior to the assessment.
Examiners will be looking for apposite stylistic interpretation and necessary arrangement and performance skills.
Assessment Criteria
Learning outcome Students will be assessed
on their ability to:
Assessment
method
1. Recognise the fine
detail in stylistic elements
in various styles of music
Select and rehearse appropriate material
for a solo performance
Write an articulate, well considered
essay, charting the styles that have
informed their chosen performance
pieces
Solo
Performance
Assessments
Style File
2. Apply sophisticated
stylistic conventions to
original part writing
Adhere to musical characteristics and
conventions of different musical styles
Compose and perform stylistically
appropriate parts on instrument or voice
in a solo performance
Solo
Performance
Assessments
3. Demonstrate
sophisticated stylistically
appropriate solo
instrumental or vocal
skills
Show considered and controlled musical
skills in performing a variety of pieces
Solo
Performance
Assessments
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
34
Reading List
Core texts:
BIMM Dublin 2016-17. BIMM BA2 (Hons) Course Handbook
Additional texts:
Ameen, R and Goines, L. (1990) Funkifying the Clave: Afro-Cuban Grooves for Bass and Drums. New York: Alfred Publishing Co.
Bacon, T. & Morgan, G. (2006) Paul McCartney: Bassmaster: Playing the Great "Beatles" Basslines. San Francisco: Backbeat Books.
Chester, G. (2006)The New Breed. Milwaukee: Hal Leonard.
Clayton, S. (2004) Giants of Bass. London: Sanctuary Publishing.
Clayton, S. (2006) Bass Styles: The Ultimate Guide to Playing Bass in any Genre-Music. London: Sanctuary Publishing.
Coryat, K. (2005) Guerrilla Home Recording: How To Get A Great Sound From Any Studio. Milwaukee: Hal Leonard.
Des Pres, J. (2001) 70s Funk and Disco Bass: 101 Groovin' Bass Patterns. Milwaukee: Hal Leonard.
Friedland, E. (1998) Reggae Bass. Milwaukee: Hal Leonard.
Friedland, E. (2006) Blues Bass: A Guide to the Essential Styles and Techniques. Milwaukee: Hal Leonard.
Govan, G. (2002) Creative Guitar 1 and 2. London: Sanctuary.
Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.
Hodgson, L. (1997) Hot Country: Comprehensive Guide to Lead and Rhythm Country Guitar Playing. London: Sanctuary.
Lebon, R. (2006) The Versatile Vocalist. Lanham: Scarecrow.
Licks, D. (1989) Standing in the Shadows of Motown: The Life and Music of legendary Bassist James Jamerson. Milwaukee: Hal Leonard.
Madsen, P. (2007) Funk Guitar and Bass: Know the Players, Play the Music. San Francisco: Backbeat Books.
Matheos, C. (2009) The Ultimate Heavy Metal Bass Book. Fenton, MO: Mel Bay Publications.
Mulhern, T. (ed.) (1998) Bass Heroes: Styles, Stories and Secrets of 30 Great Bass Players. London: Backbeat UK.
Peckham, A. (2000) The Contemporary Singer. Boston: Berklee.
Richardson, C. ( 2007) The Professional Studio Vocalist, Boston: Thomson Course Technology.
Slutsky, A. & Silverman, C. (1997) Funkmasters: The Great James Brown Rhythm Sections, 1960-73: For Guitar, Bass and Drums. Warner Bros. Publications Inc.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
35
DN/MM619 Techniques 2
Key Information
Course: BA (Hons) Commercial Modern Music
Module Code: DN/MM619
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 23 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self -Directed Learning: 163 Hours
Module Leader: Keith Farrell Tutors: Keith Farrell Dave Whyte Tine Verbeke Dave Hingerty
Module Summary
Closely linked to Styles 2, this module is designed to develop the student’s ability by honing advanced technique and therefore facilitating enhancement of the student’s musical vocabulary. As advanced technique develops, students will be able to execute more ideas within their chosen discipline and with greater dynamic control and accuracy. The study path encompasses various different concepts, techniques and applications, in preparation for the many different playing situations that may be encountered. A disciplined approach to regular practice is the key to success here, so the structuring of a focused and workable practice routine will be essential. The module is also designed to help you develop your ability to interpret industry standard notation in a wide range of musical settings.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
36
Aims
To develop and improve advanced discipline-specific technical skills To review, plan, execute and monitor a logical practice routine and
demonstrate understanding of the practice requirements of the instrument or voice
To demonstrate advanced technical competence in applied settings
Indicative Study Topics
Developing personal expertise/advanced technical competence on instrument/voice
Professional tone generation and sound study (how to achieve a range of sounds)
Practice planning, critical review and time management Knowledge of professional practice and definitions of advanced technical
competence Referencing against professional advanced technical standards and
quantifying individual technical progression
Teaching & Learning Methods
The module will be delivered utilising a variety of teaching methods. The majority of module delivery will occur within instrumental group sessions involving tutor led demonstration and academic analysis, discussion and demonstration of different techniques, practical application and relevance, together with group work and individual practical performance of techniques under consideration.
Formative Assessment
Formative assessment will help monitor individual student progress, both in class using Q&A, practical tests on technical concepts, application of technique, regular checking of progress on practice schedules in addition to independent study and research. Mock assessments will be used to check student learning alongside the provision of regular feedback on student progress. Formative assessment will also include playing in class time, tutor led demonstration and individual tutorials, which will be available to all students. Weekly exercises will also be set by tutors and information will be uploaded to the VLE.
Learning Outcomes
On completion of this module a successful student will be able to:
1. Critically review, plan and execute a practice routine to facilitate competent vocal or instrumental technique
2. Demonstrate advanced technical skill and an awareness of established musical conventions.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
37
Assessment
No Summative
Assessment Methods
Length Learning Outcomes Addressed
Assessment Weighting
Formative/
Summative
Assessment Week
1
Technical Exercises, Viva & Sight Reading
15 mins 1,2 30% Formative W18-W19
2
Technical Exercises & Sight Reading
15 mins 1,2 70% Summative W26-W29
Assignment Brief
1. Technical Exercises, Viva & Sight Reading
You will be tested on your technical knowledge and facility with regard to pitch, tuning/intonation, vibrato, tone, time keeping, control, rudiments, feel, dynamics, fluency and phrasing, as appropriate to your discipline.
You will be asked questions relating to your preparation and rehearsal for the assessment.
You will be tested on your ability to interpret industry standard notation.
Precise specifications will be made available from your tutor prior to your assessment.
2. Technical Exercises & Sight Reading You will be tested on your technical knowledge and facility with regard to pitch, tuning/intonation, vibrato, tone, time keeping, control, rudiments, feel, dynamics, fluency and phrasing, as appropriate to your discipline.
You will be tested on your ability to interpret industry standard notation
Precise specifications will be made available from your tutor prior to your assessment.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
38
Assessment Criteria
Outcome Students will be assessed on their ability to:
Assessment method
1. Critically review, plan and execute a practice routine to facilitate competent vocal or instrumental technique
Demonstrate understanding of the practice requirements of their instrument/voice.
Technical Exercises
(and Viva)
2. Demonstrate advanced technical skill and an awareness of established musical conventions
Exhibit appropriate technical competence to perform set musical exercises
Exhibit considered and controlled instrumental or vocal technique combined with a high degree of musicality, appropriate phrasing and dynamics.
Technical Exercises
(and Viva)
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
39
Reading List
Core Texts: BIMM Dublin 2016-17: BIMM Reference Manual (Vocals; Guitar; Bass; Drums).
Additional Texts:
Drums:
Berry, M. & Gianni, J. (2004) The Drummer’s Bible. Tucson: See Sharp Press.
Igoe, T. ( 2006) Groove Essentials. New York: Hudson.
Latham, R. (2007) On the Beaten Path. New York: Alfred Publishing.
Malabe, F. and Weiner, B.(1990) Afro-Cuban Rhythms for Drumset. New York: Manhattan Music Publishing.
Wilcoxon, C. (1945) The All-American drummer-150 Rudimental Solos. Florida: Ludwig Masters Publishing.
Vocals: Thompson, J. (2004) Find Your Voice. Chamaliers: Artemis Editions.
DeVore, K. & Cookman,S. (2009)The Voice Book: Caring For, Protecting and Improving Your Voice. Chicago: Chicago Review Press.
McCallion, M. (1998) The Voice Book. New York: Routledge.
Grant, C. & Grant, D. (2006) Total Singing Tutor: The Complete Guide to Singing, Recording and Performing. London: Carlton publishing.
Bass: Bredice, V. (1993) Mel Bay's Deluxe Jazz & Rock Bass Method. Fenton, MO: Mel Bay Publications.
Clayton, S. (2013) Ultimate Slap Bass. Devon: Bassline Publishing.
Coryat, Karl (ed.) (1999) The Bass Player Book. San Francisco: Miller Freeman Publishing.
Di Bartoli, J. (1997) Serious Electric Bass: The Bass Player's Complete Guide to Scales and Chords. Warner Bros. Publications Inc.
Jisi, C. (2008) The Fretless Bass. London: Backbeat Books.
Licks, D. (1989) Standing in the Shadows of Motown: The Life and Music of legendary Bassist James Jamerson. Milwaukee: Hal Leonard
Sher, C. (2000) The Improviser's Bass Method. Petaluma, CA: Sher Music Co.
Guitar:
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
40
Gambale, F. (1989) The Frank Gambale Technique Book 1 & 2. New York: Manhattan Music Publications.
Govan, G. (2003) Creative Guitar 1 & 2. Chicago: SMT Publications.
Greene, T. (1981) Chord Chemistry. Newcastle: Dale Zdenek Publications.
Journals: Music Week Magazine
Websites: www.youtube.com
www.snarescience.com
www.vocalist.org.uk
www.singers.com
www.singingsuccess.com
www.perbristow.com
www.virtualvoicelessons.net
www.ultimateguitar.com
www.funkychops.com
www.squidoo.com/bass_style
www.drumchannel.com
www.drummerworld.com
www.vicfirth.com/education
www.vater.com/education
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
41
DN/MM614 Essential Development Skills
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: BIMM 10
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 26 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self -Directed Learning: 159 Hours
Tutors: Brian Dillon
Module Summary
This module consists of three components or learning arcs undertaken by both the instrumentalist stream and the songwriting stream. The components are designed to be a continuation of key skills addressed in BA1 and preparation for key skills required to enable the fulfilment of learning outcomes underpinning modules in BA3 and BA4. The indicative syllabus associated with each component will inform and aid the development of a broad skillset and encourage a spirit of curiosity and a desire to learn among students.
The individual module components are:
Cultural Theory, An Introduction Personal & Professional Development Research Methods, Academic Writing and Pedagogy, An Introduction
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
42
Aims
To help students develop their capacity to give, receive, and make productive use of peer feedback, and to improve the accuracy of their self-assessment
To offer an extended opportunity for students to develop their presentational and writing skills
To develop an awareness of, and a grounding in, aesthetics and philosophy of music
To develop an understanding of effective research techniques and methodology
To help students understand the cultural impact of musical originality and creativity in the context of social, political and economic history
Indicative Study Topics
Research methods in Higher Education, including research families, approaches and techniques
Working in an effective peer learning group / Action Learning Set Goal setting (outputs and outcomes); creating an informed development plan Aesthetics and the philosophy of music Postmodernism in pop and rock music Writing skills and articulation
Teaching & Learning Methods
Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning facilitated by the BIMM VLE and independent study and research.
Formative Assessment
Formative assessment will include opportunities to present research work in class with regular feedback, both written and verbal from tutors and peers.
Learning Outcomes
On completion of this module a successful student will be able to: 1. Demonstrate appropriate academic conventions 2. Plan an individual programme of personal and professional development 3. Articulate connections between cultural theories and modern music practices 4. Select and utilise appropriate research methods
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
43
Assessment
Assignment Brief
1. Presentation – 10 minutes (individual work)
You will be required to present a short analysis of one piece of music; the analysis must utilise at least one of the cultural theories covered in class during the first arc of learning. You must articulate a persuasive justification of the chosen theory’s connection to your selected piece of music.
2. Development Plan – 1000 words (individual work)
Plan and critically evaluate a programme of personal and professional development, referencing key topics addressed in this module. Discuss specific examples illustrating engagement with effective peer feedback you received during the module. Include citation of appropriate academic texts recommended by your tutor.
* N.B. This is a pass required assessment
3. Research Project – 1500 words (individual work) This is a project based on proposed research activity you will prospectively or partially undertake, based upon the introduction to research methods provided in the third arc of this module. It should reflect ethical research practice and planning, in accordance with the principles of data collection outlined in class. Your tutor will provide you with details of the elements which your project should include. * N.B. This is a pass required assessment
No Summative
Assessment
Methods
Length Learning
Outcomes
Addressed
Assessment
Weighting
Formative/
Summative
Assessment
Week
1 Presentation 10
mins 1,3 30% Formative W11/12
2 Development
Plan *
1000
words 2 30% Summative W18
3 Research
Project*
1500
words 1,4 40% Summative W27
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
44
Assessment Criteria
Outcome Students will be assessed
on their ability to:
Assessment
method
1. Demonstrate
appropriate academic
conventions
Produce a coherent and clearly
argued piece of work,
demonstrating correct usage of
research, citation and referencing
Presentation
Research
Project
2. Plan an
individual programme
of personal and
professional
development
Show an informed approach to
planning personal and professional
development, providing an
appropriate explanatory framework
Development
Plan
3. Articulate
connections between
cultural theories and
modern music
practices
Present an argument relating
theory to practice through the
analysis of material from a chosen
artist
Presentation
4. Select and
utilise appropriate
research methods
Understand and apply primary
research methods and data
collection techniques
Research
Project
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
45
Reading List
Core texts: Bell, J. (2014). Doing Your Research Project. 6th edn. Maidenhead : McGraw-Hill Education.
Storey J., (2015). Cultural Theory and Popular Culture: An Introduction. 7th ed. London: Routledge.
Basco, M., (2010). The Procrastinator’s Guide to Getting Things Done. New York: Guilford Publications Inc.
Additional texts: Academic writing guides, study skills materials and additional texts are available on the BIMM VLE
Websites: Google Scholar: scholar.google.com
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
46
DN/MM611 Applied Music Business and Study Skills
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM611
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 26 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self- Directed Learning: 159 Hours
Module Leader: James Byrne Tutors: James Byrne
Module Summary
Designed to give the student an opportunity to explore the practical applications of the learning gained by undertaking the BIMM Music Business and Study Skills
Topics such as the formulation of a business plan and project management relating to topics (recording contracts, publishing contracts, artist management, music synchronization, music law, copyright, music teaching, merchandising and touring).
This module also includes a study skills element, designed to equip the student with the academic skills they will need for Higher Education study.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
47
Aims
To understand and apply the principles behind creating a business plan To understand and apply the principals of project management To identify and examine current music industry structures and practices To introduce the student to appropriate HE study skills
Indicative Study Topics
Business planning Business start up Goal setting Project management Study skills: using the library, essay writing, Harvard Referencing
Teaching & Learning Methods
This module will be delivered using a range of methods including formal lectures with audio-visual support, small group work, coursework, in class exercises, tutor demonstrations, e-learning through the VLE and independent research.
Formative Assessment
Formative assessment will include Q&A and discussion time in class, informal feedback on weekly tasks, and individual tutorials, which will be available to all students. Weekly exercises will be set by tutors and information will be uploaded to the VLE.
Learning Outcomes
On completion of this module a successful student will be able to: 1. Produce a logically structured business plan 2. Produce viable time bound project planning document 3. Demonstrate knowledge of the structure and mechanics of the music industry 4. Engage in an appropriate level of reading and research, demonstrating
appropriate academic conventions
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
48
Assessment
No Summative
Assessment Methods
Length Learning Outcomes Addressed
Assessment Weighting
Formative/
Summative
Assessment Week
1 Time bound project plan
1000 words
1,2,3,4 30% Formative W15
2 Business Plan
2500 words
1,2,3,4 70% Summative W26
Assignment Brief
1. Time Bound Project Plan (1,000 words) - Individual Work
Construct a business plan focusing heavily on the timeline displaying how you would take your music related business from early stages to launch.
Show within the plan how you will manage the various inputs to ensure a successful outcome.
Use this plan as a preparation for your second assignment, include brief overviews of all areas of your business under the key headings of a standard business plan.
Use appropriate academic reading, industry media source and case studies to support your arguments.
Much like a CV, a business plan adheres to a certain format, you may vary the way you present your business plan but it must include the core elements of a standard business plan (SWOT Analysis, Financial Projections, Timeline etc.) to help assess the viability of the business. Make sure to include in-text citations and a bibliography using the Harvard Referencing System.
2. Business Plan (2,500 Words) - Individual Work
Create a business model for a music related business:
Identify and evaluate a viable opportunity for a self employed entrepreneur to work successfully within the music business.
Research, prepare and submit a business plan that demonstrates an understanding of the format and conventions of basic business planning.
Use real world examples to support your case for the viability of the business
plan and examine opportunities for the business to develop ion the future.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
49
Use appropriate academic reading and industry media sources to support your arguments. Essays should include appropriate use of researched examples and cited quotations, together with a full bibliography using the Harvard Referencing System.
*Please refer to the sections entitled “Submission of Written Work” and “Essay & Written Work Format” in the General & Assessment Regulations in this manual for further guidance on how to present and submit your written work.
Assessment Criteria
Outcome Students will be assessed on their ability to:
Assessment method
1. Produce a logically structured business plan
Demonstrate knowledge and understanding of key components within a business plans, including: personal role, aims, produces services, marketing, completion, cash flow, profit and loss, SWOT analysis
Project Plan
Business Plan
2. Produce viable time bound project planning document
Demonstrate a working knowledge of music project management including, recourse management, time management, financial control systems
Project Plan
Business Plan
3. Demonstrate knowledge of the structure and mechanics of the music industry
Apply practical business and project management topics to music related areas. Present a convincing case for the viability of your ideas
Project Plan
Business Plan
4. Engage in an appropriate level of reading and research, demonstrating appropriate academic conventions
Engage in the process of effective research by utilising library and online research sources
Produce a coherent and clearly argued essay, demonstrating correct usage of citation and referencing
Project Plan
Business Plan
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
50
Reading List
Core texts:
Harrison, A. (2014) Music: The Business: The Essential Guide to the Law and the Deals. 6th Edn. London: Virgin.
Business Start up guides (various) available from high street banks including Barclays and Natwest.
Additional texts:
Gordon, S. (2005) The Future of the Music Business: How to Succeed With the New Digital Technologies. San Francisco: Backbeat Books.
Kalliongis, N. (2008) MySpace Music Profit Monster. Los Angeles: CreateSpace Independent Publishing.
Lathrop, T. (2005) This Business of Music, Marketing & Promotion. New York: Billboard.
Passman, D. (2004) All you need to know about the Music Business. London: Penguin.
Websites:
College Music Update: www.thecmuwebsite.com/daily/
BBC Radio 1’s Introducing: www.bbc.co.uk/music/introducing/
Record of the Day: www.recordoftheday.com
The British Phonographic Industry: www.bpi.co.uk
Bemuso: www.bemuso.com
MCPS/PRS Alliance: www.prsformusic.com
Music Tank: www.musictank.co.uk
Lee & Thompson: www.leeandthompson.com
The Future of Music Coalition: www.futureofmusic.org
Musicians Union: www.musiciansunion.org.uk
Soundcloud: www.soundcloud.com
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
51
DN/MM616 Performativity and Live Music
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM616
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 24 x 2 Hours (LPW), 24 x 1.5 Hours (Pre-Production)
Tutorials: 2 x 1 Hour
Self-Directed Learning: 114 Hours
Module Leaders: Robbie Malone and Brian Dillon Tutors:
Johnny Boyle
Shelley Bukspan
Dave Magee
Ronan Yourell
Robbie Malone
Module Summary
Performativity and Live Music will supplement the skills already attained by students in BA1 Pre-Production and Live Performance Workshop, by expressing historical themes associated with influential genres covered in DN/MM607 Styles 1 and by introducing significant cultural theories associated and iterated within popular culture.
The module will consist of a series of thematic cycles, each beginning with a lecture based class, giving the student an overview of the social, political and philosophical nuances associated with key live performances and their subsequent cultural impact. A grounding in critical theory provided through content covered in DN/MM614 Essential Development Skills will also inform the approaches and discussion students are expected to undertake in Performativity and Live Music.
The module also takes the student through the process of effective live performance, from thorough individual preparation to live ensemble performance. It provides musicians with an opportunity to build upon the work undertaken in the previous Live
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
52
Performance Workshop classes. Students are expected to take full responsibility for preparing the track and to have a much greater understanding of detail within performance, refining the parts, consistency, timekeeping, and groove. They must also deconstruct assigned tracks and reinterpret the tracks through experimentation shaped by engagement with the cultural theories associated with each thematic cycle.
Musicians will be encouraged to develop confident professional performance techniques, creative flair, arrangement skills and the interpersonal skills necessary for effective communication, all of which are essential to professional preparation and performance.
N.B. If a track has two guitar parts, guitarists will be expected to learn both. If a track has no guitar parts, guitarists will be expected to create parts, be innovative with how the instrument is used, for example, by utilising various tunings and percussive approaches. Bassists should be prepared to be adaptable and innovative, where required. Similarly, if there are vocal harmony parts, singers should be prepared to learn all parts; if a track has no vocal parts, then vocalists may be required to create original parts. Drummers should have an awareness of any additional percussion parts and be prepared to play them. All students must be prepared to perform in class each week; however, if a student does not perform, participation will be through contributing to an ongoing dialogue relating to the themes of the module.
Authenticity, creativity and attention to detail are expected and musicians are expected to make every reasonable effort to use appropriate instruments, effects and to be prepared to a) enter into the spirit of the original work, and to b) reinterpret the original work through a focus on creativity and experimentation.
Aims
To understand how to take full responsibility as an individual for preparing musical work to a professional standard quickly and effectively
To understand and employ effective live performance techniques, including ensemble skills, rehearsal methods and MDing
To interpret tracks with energy, confidence and imagination and personality To understand the component parts of a technically proficient authentic and
musical performance To effectively give and receive feedback to improve musical ability in
performance
Indicative Study Topics
Popular music and historical events, including the impact of war and economic depression in twentieth century popular music
Technological change: how did the development of new technologies shape emerging genres in popular music?
Popular music and gender, including the impact of key writers and performers Popular music and people’s beliefs: how have genres in music been
influenced by prevailing religious practices? Using musical reference material effectively and accurately to facilitate
authentic performance
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
53
Critical listening to facilitate greater understanding of individual musical contributions
Playing as an effective unit/ensemble Understanding of personal/ensemble dynamics in rehearsal and performance Listening to other members of the ensemble effectively and communicating on
stage Developing confidence as a stage performer (and learning to control
nerves/anxiety) Reflective practice and analytical skill as they apply to performance
Teaching & Learning Methods
This module will be delivered using a range of methods including: tutor presentation with audio/visual support, individual work, small group work, tutor/peer feedback and self-reflection, coursework, discussions, tutor demonstration, e-learning through the VLE, independent study and research, personal rehearsal time.
An integral part of the teaching and learning methods used to deliver this module is a system of feedback and self-reflection developed at BIMM. This includes a mixture of peer and tutor feedback, small group feedback teams and written self-reflection. The aim is to encourage reflective practice, which can then inform a constructive practice regime and inspire creative approaches and confidence in original ideas. Reflection will also focus on the transferable skills employed within each track that can be applied to other performances, including the student’s own original music.
Formative Assessment
Formative assessment takes the form of LPW feedback sheets which are used to give each performer constructive feedback and encouragement. These sheets include areas for peer feedback, as well as student self-reflection. Students are encouraged to use this formative assessment to inform their practice regime. Formative assessment will also take the form of in-class debate and peer-to-peer feedback on experimentation and creativity.
Learning Outcomes
On completion of this module a successful student will be able to:
1. Apply necessary preparation and rehearsal skills for effective live ensemble performance
2. Demonstrate technical instrumental or vocal skills for effective live ensemble performance
3. Demonstrate appropriate presentational and interpersonal skills within live ensemble performance
4. Demonstrate an ability to critically analyse a variety of performance styles and their respective themes
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
54
Assessment
No Summative
Assessment
Methods
Length Learning
Outcomes
Addressed
Assessment
Weighting
Formative/
Summative
Assessment
Week
1
Ensemble
Performance
Exam (one
song)
10 mins 1,2,3 25% Formative W20
2
Ensemble
Performance
Exam (two
songs)
10 mins 1,2,3 50% Summative W27
3 *Thematic
Journal
1000
words 4 25% Summative W23
*N.B. – Assessment 3 Thematic Journal is a pass required assessment
Assignment Brief
1. Ensemble Performance – Group / Individual work
You will need to assemble a band of BIMM students to deliver an accurate and artistic performance of one song at the BIMM end-of-term gig auditions.
Your band can include a number of ex-BIMM students and a maximum of one non-BIMM musician. Musicians playing instruments not taught by the college are also
permitted. For clarification contact reception and they can advise.You need to book your audition slot at BIMM reception by the end of the week prior to the assessment.
Please take note of the following points, which also apply to the end of term gig, and will help you achieve higher grades:
Performances need to be creative, confident, well-considered and expressive Presentation is important and should be considered Well-chosen, appropriate song(s) is/are essential.
You will be expected to get on and off the stage in a professional manner, and introduce your own performance.
Your tutors will be looking for evidence of professionalism, preparation, performance, creativity, playing out to the audience and a considered approach to communication with fellow band members on stage.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
55
2. Ensemble Performance – Group / Individual work
You will need to assemble a band of BIMM students to deliver an artistic performance of two songs at the BIMM end-of-term gig auditions. You should introduce your performance with a clear articulation of why you are performing the two songs and how your choice was influenced by aspects of the themes addressed in the module throughout the year. Authenticity of thought and performance is encouraged.
3. Thematic Journal – Individual work You will submit a 1000 word journal which examines and critiques content covered during the year. You will present a clearly written piece of work demonsrating on-going conceptual development and critical thinking. Written contributions to the journal should be made throughout the academic year, with your final submission focusing on one or more themes encountered during the module. You may argue for or against cultural theories discussed in class with clear reference to performance styles and performative approaches. Critical awareness and analytical ability are crucial characteristics of effective creative professionals, and this journal should act as an archive of your development in this respect over the course of the year. Additonal details will be provided by your tutor.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
56
Assessment Criteria
Reading List
Core texts:
Storey, John (2013) Cultural Theory and Popular Culture: An Introduction. 6th edn. London: Routledge.
Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.
Additional texts:
Baxter, M. (1999) The Rock ‘n’ Roll Singer’s Survival Guide. Milwaukee: Hal Leonard Publishing.
Outcome Students will be assessed
on their ability to:
Assessment
method
1. Work independently to
apply necessary
preparation and
rehearsal skills for
effective live ensemble
performance
Select, rehearse and perform suitable
ensemble repertoire
Organise and take part in a musical
performance in a professional and
reliable manner
Live
Performances
2.Demonstrate technical
instrumental or vocal
skills for effective live
ensemble performance
Effectively arrange and perform original
or cover compositions with other
musicians
Live
Performances
3.Demonstrate
appropriate
presentational and
interpersonal skills within
live ensemble
performance
Communicate with fellow band
members and perform out to an
audience in context to the music being
performed
Exhibit an appropriate quality of control,
confidence and self-presentation in
performance.
Live
Performances
4.Demonstrate an ability
to critically analyse a
variety of performance
styles and their
respective themes
Effectively articulate opinions on live
performances and their respective
themes, including thoeries discussed
during the module, utilising academic
conventions and critical analysis skills.
Thematic
Journal
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
57
Delamont, G. (1965) Modern Arranging Technique. New York: Kender Music. Ganapes, J. (2000) Blues Licks You Can Use: Tips for performance. Milwaukee: Hal Leonard.
Green, B. (2003) The Mastery of Music: Ten Keys to Musical Excellence. London: Pan. Green, B. (2005) The Mastery of Music: Ten Pathways to True Artistry. London: Pan.
Kain, R. (2003) The Complete Vocal Workout, a step-by-step guide to Tough Vocals. Chicago: SMT Publications. Taruskin, R. (1996) Text and Act: essays on musical performance. Oxford: OUP.
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
58
DN/MM612 Applied Theory, Transcription and Keyboard
Skills
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM612
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 26 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self-Directed Learning: 159 Hours
Module Leader / Tutor: Sarah Lynch Tutors: Sarah Lynch David Conway Karl Breen Tully Gunawardhana
Module Summary
This module provides the student with an opportunity to consolidate, develop and apply the music theory concepts studied in DN/MM604 ‘Theory, Notation and Keyboard Skills. It will facilitate further the development of aural transcription skills, along with a more detailed study of the theory behind the music, including practical applications of theoretical concepts to better prepare the student for the range of musical situations they are likely to encounter as professional musicians.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
59
Aims
To further train students to identify and notate the harmonic, melodic, and rhythmic aspects of contemporary music using industry standard notation
To enable the student to analyse and perform original and standard musical excerpts and apply and evaluate music theory concepts
To facilitate the development of practical musicianship skills essential to meeting the demands of the workplace
To explore further the concepts of rhythm and pitch recognition To enable students to create professional musical charts and understand how to
accurately read and write dynamics and performance directions. To further explore the concept of voice leading, 4 – part harmony, and to
compose, analyse and transcribe diatonic and non – diatonic chord progressions.
Indicative Study Topics
Knowledge of Musical Vocabulary: clefs and staves, note values and rests, time signatures, reading music on your instrument of choice
Melodic and Harmonic Construction: intervals, scales, triads and their inversions Advanced Music Theory Concepts: seventh, ninth, eleventh, and thirteenth
chords and their inversions, voice leading, modulation, modal scales, altered chords and scales
Rhythm: simple, compound, and odd time signatures, polyrhythm Basic Arranging: the roles that guitar, bass, drums, and vocals play in various
genres in contemporary music and how music for these specific instruments is notated
Arranging: the roles that brass, woodwind, strings and percussion instruments play in various genres in contemporary music and how music for these specific instruments is notated
Introduction to basic rock instrumentation score reading: Interpreting, realising, and transcribing parts written for and played by a rock group
Chart Reading and Writing: includes working through professional music charts and understanding how to accurately read dynamics and performance directions
Teaching & Learning Methods
This module will be delivered utilising a variety of methods including; tutor led lectures/workshops, group work, e-learning through the VLE and independent study and research.
Formative & Summative Assessment
Formative assessment will include playing in class time and individual tutorials, which will be available to all students. Formative assessment will also enable students to highlight areas for improvement before formative and summative assessment in weeks 12, 21/22 and 28.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
60
Learning Outcomes
On completion of this module a successful student will be able to: 1. Identify and interpret industry standard notation.
2. Recognise and transcribe musical features such as rhythmic devices, harmonic progressions, melodic contour, and instrumentation
3. Identify, analyse, and apply music theory concepts
Assessment
No Summative
Assessment
Method
Length Learning
Outcomes
Addressed
Assessment
Weighting
Formative/
Summative
Assessment
Week
1 Keyboard
Skills and
Viva Voce
10mins
1,2,3 15% Formative W12
2 Keyboard
Skills and
Viva Voce
10mins 1,2,3 25% Formative W21/22
3 Written and
Aural Exam
2hrs 1,2,3 60% Summative W28
Assignment Brief
1 & 2. Keyboard Skills and Viva Voce (10 mins) – Individual work
Students will be asked to-
i. Demonstrate, on the keyboard, a range of musical elements, including intervals, chords, scales and chord progressions, selected by the assessor from a prescribed list. Students will have a limited amount of preparation time before performing these.
ii. Identify and perform an interval, chord triad OR scale written in industry standard notation, and will be assessed on their ability to correctly interpret standard conventions of musical notation.
iii. Demonstrate a wider understanding of music theory concepts, by explaining the function, composition or recognised application of a specific music theory topic, selected by the assessor on the day from the coursework covered in Term 1 of the Module.
2. Written and Aural exam (2 hrs) - Individual work
This exam will- i. Test the student’s ability to identify, analyse, and notate music theory
concepts. ii. Test the students ability to aurally recognise, analyse and transcribe a range
of melodic and harmonic musical elements.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
61
Assessment Criteria
Outcome Students will be assessed
on their ability to:
Assessment
method
1. Identify and
interpret
industry standard
music notation
Correctly interpret elements of
contemporary music from examples
written in standard musical notation
Keyboard
skills and viva
Voce
Written and
Aural exam
2. Recognise and
transcribe musical
features such as
rhythmic devices,
harmonic
progressions,
melodic contour,
and
instrumentation
Accurately notate melodic, harmonic
and rhythmic features on a limited
number of hearings
Keyboard
skills and viva
Voce
Written and
Aural exam
3. Identify, analyse,
and apply music
theory concepts
Recognise theoretical concepts from
written music
Analyse compositional excerpts and
label compositional techniques using
industry standard terminology
Keyboard
skills and viva
Voce
Written and
Aural exam
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
62
Reading List
Essential Reading:
BIMM Dublin. 2016-2017. BIMM Reference Manual Nestico S 2007 The Complete Arranger (Revised Edition) Fenwood Music Co. Inc
Turnbull, D. (2004) Aural Time! Grade 8: Practice Tests for ABRSM and Other Exams. London: Bosworth.
Supplemental Reading:
Additional texts: Bellson, L. (2000) Modern Reading Text in 4/4. New York: Alfred Publishing.
Bellson, L. (2000) Odd Time Reading. New York: Alfred Publishing.
Celentano, D. (2005) Guitar Transcribing: A Complete Guide. Milwaukee: Hal
Leonard.
Harrison, M. (1999) Contemporary Music Theory Volume 1-3. Milwaukee: Hal
Leonard.
Perricone, J. (2000) Melody in Songwriting. Boston: Berklee Press.
Scott, R. J. (2003) Chord Progressions for Songwriters Writers Club Press
Taylor, E. (1990) The AB Guide to Music Theory Vol. 1. Oxford: Oxford UP.
Taylor, E. (1990) The AB Guide To Music Theory Vol. 2. Oxford: Oxford UP.
Taylor, E. (1999) First Steps In Music Theory Grades 1-5. Oxford: Oxford UP.
Turnbull, D. (2004) Aural Time! Grade 8: Practice Tests for ABRSM and Other Exams. London: Bosworth.
Wyatt, K. (2005) Ear Training. Milwaukee: Hal Leonard.
Websites: www.good-ear.com www.moneychords.com www.musictheory.net www.spytunes.co.uk www.chordacus.com www.iwasdoingallright.com
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
63
DN/MM617 Songwriting Techniques 2
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM612
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 26 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self-Directed Learning: 159 Hours
Module Leader / Tutor: Louise MacNamara
Module Summary
This module builds upon the learning within Songwriting Techniques 1 and deals with the further development of creative ideas and turning them into finished songs. Topics include hooks, subject matter, lyric writing, song form and structure, elementary arrangement and basic studio production techniques, as used by some of the world’s most successful composers.
This module will allow the student to further develop the tools required to put creative energy into practice, inspiring them to engage in compositional techniques to improve their skills as a songwriter.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
64
Aims
To develop professional compositional technique To develop skills that help create effective melodic composition To write more effective and expressive lyrics To understand and utilise techniques that will further develop songwriting
skills To be able to work to a strict and precise brief To be able to respond positively to criticism and feedback as a reflective
practitioner To be able to create effective working practices
Indicative Study Topics
Context and working methods in popular songwriting Composition and arrangement techniques Melody top-line writing techniques Lyric writing techniques Working with others; building and leading a team Working to a precise commercial brief Reflective practice and self-analysis Working with media: formats, conventions and techniques
Teaching & Learning Methods
This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars and practical workshops/demonstrations, student led seminars, e-learning through the VLE and independent study and research.
Formative Assessment
Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online tasks utilising multiple-choice questionnaires (via the VLE).
Learning Outcomes
On completion of this module a successful student will be able to:
1. Develop further original melodic, rhythmic and harmonic ideas
2. Create sophisticated original compositions using instrumental and lyrical
combinations to a commission
3. Analyse the process of developing original compositions and arrangements
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
65
Assessment
No Summative
Assessment Methods
Length Learning Outcomes Addressed
Assessment Weighting
Formative/
Summative
Assessment Week
1
Composition (2 songs) and written summary
1500 words + recording
1,2,3 30% Formative W17
2
Composition (2 songs) and written summary
1500 words + recording
1,2,3 70% Summative W26
Assignment Brief
1 & 2 Composition Portfolio (2 songs) and written summary (1500 words) – Individual work
Write, arrange and record two songs and provide a written summary (1500 words) outlining details of the style and genre you have chosen and the songwriting techniques you have employed.
The audio quality of your recordings must be of an appropriate level. Your tutor will provide you with additional guidelines regarding this component of the assessment.
Your analysis of the compositions should discuss and justify some or all of the following elements:
• Structure and form
• Chord progressions, inversions and voicings
• Riffs and melody, including any melodic devices you may have utilised.
• Musical and lyrical theme development
• Rhythmic and tempo considerations
Precise compositional briefs will be made available from your tutor prior to your assessment.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
66
Assessment Criteria
Outcome Students will be assessed on their ability to:
Assessment method
1. Develop further original melodic, rhythmic and harmonic ideas
Create melodic, rhythmic and harmonic ideas from different stimuli
Generate original melodies and hooks
Composition Portfolio
2. Create sophisticated original compositions using instrumental and lyrical combinations to a commission
Manipulate and develop musical ideas using different compositional techniques
Create original compositions meeting the brief of the commission
Create compositions in different forms
Composition Portfolio
3. Analyse the process of developing original compositions and arrangements
Evaluate the rational and methodology behind the development of original compositions
Composition Portfolio
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
67
Reading List
Core texts:
Baheny, J. (2001) The Craft and Business of Songwriting. Cincinnati: Writers Digest.
Webb, J. (1999) Tunesmith: Inside the Art of Songwriting. New York: Hyperion.
Additional texts:
Huber, D. (2005) Modern recording techniques - 6th ed. Oxford: Focal Press.
Pattison, P. (1996) Writing better lyrics. Cincinnati: Writers Digest.
Websites:
www.songwritingopportunities.com
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
68
DN/MM613: Arrangement Analysis
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM613
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 26 x 1.5 Hours
Tutorials: 2 x 1 Hour
Self -Directed Learning: 159 Hours
Module Leader / Tutor: Colm Quearney
Module Summary
Arrangement Analysis is concerned with the deconstruction and study of the elements that make up successful popular songs. This module requires students to employ critical listening and aural perception to look at music and lyrics objectively, in order to understand how they might work on us subjectively. The student will be very concerned with the connections made between one artist, or one type of music and another and the wide-open artistic “radar” that all these great artists possessed.
The module content will broaden the vocabulary for writing, arrangement and production, providing the skills and aptitudes necessary for lifelong learning in this field. Students will be presented with the opportunity to reconceptualise the compositional approaches of contemporary songwriters that are covered in class.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
69
Aims
To promote deeper musical listening and track analysis comparable to that of professional musicians and producers, so that this becomes a lifelong skill.
To unpack key features of tracks such as dynamics, tempo, feel and recording techniques.
To enable learners to better identify the key stylistic influences on artists. To enable learners to better understand the historical and social context of the
composers approach to songwriting. To learn by example so as to improve the learner’s own songwriting and
motivate them to take a wider, more knowledgeable view of music. To create a portfolio of work that demonstrates an understanding of key
stylistic traits of artists & genres featured on the module. To integrate theory knowledge as a way of deconstructing and understanding
artists & genres.
Indicative Study Topics
Analysis of scores and chord charts classic tracks Looking at genres and their origins Specific study of technical/arrangement ideas Analysis of the complex web of musical and non-musical influences on a
given track A look at how production techniques and the recording studio has impacted
song composition Using artists and their work to provoke a social/historical discussion
Teaching & Learning Methods
This module will be delivered using a variety of methods including tutor-led lectures and class discussions, group collaboration, active listening to professional material, e-learning via the VLE and independent study and research.
Formative Assessment
There is a strong emphasis on formative assessment, which will include verbal tutor and peer feedback. Throughout the module there will be an opportunity to discuss the progression of your portfolio.
Individual tutorials will be available for each student to discuss their portfolio.
The tutor will also set weekly exercises and briefs and information will be communicated to students in class and via the VLE.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
70
Learning Outcomes
On completion of this module a successful student will be able to:
1. Analyse in detail the musical arrangement techniques exhibited by established composers 2. Plan, undertake and evaluate a portfolio of arrangement devices 3. Appraise the principal stylistic elements of popular music recordings
Assessment
No Summative
Assess-ment Methods
Length Learning Outcomes Addressed
Assessment Weighting
Formative/
Summative
Assessment Week
1 Portfolio
Portfolio + 1500 word supporting document-ation
1,2,3 100% Summative W26
Assignment Brief
1. Portfolio – Individual work
You are required to submit a portfolio of material utilising various arrangement
methodologies in a variety of musical styles, in response to the material covered in
class.
In addition you should provide supporting documentation in the form of a contextual
introduction, justification of approach to each brief, and a reflective conclusion (1500
words).
Further information will be made available from your tutor prior to the assessment.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
71
Assessment Criteria
Reading List:
Core texts:
Baur, M. & Baur, S. (2004) The Beatles and Philosophy (Popular Culture and Philosophy). Peru, Illinois: Open Court.
Cage, J. & Gann, K. Silence. Middletown, CT: Wesleyan University Press
Curtis, J. (1987) Rock Eras: Interpretations of Music and society 1954-1984. Bowling Green, OH: Bowling Green State University Popular Press.
MacDonald, I. Revolution in the head: The Beatles’ records and the Sixties. London: Vintage.
Ross, A. (2009) The Rest is Noise. London: Harper Perennial.
Storr, A. (1997) Music and the mind. New York: Random House.
Werner, C. (2002) A Change is Gonna Come: Music, Race and the soul of America. London: Penguin.
Additional texts:
Boucher, D. & Browning, G. (eds) (2004) The Political Art of Bob Dylan. London: Palgrave Macmillan
Brothers, T. (2006) Louis Armstrong’s New Orleans. London: WW Norton & Co.
Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors London: Pimlico.
Goddard, S. (2007) The Smiths: Songs that saved your life. Brühl: Heel Verlag Gmbh.
Lewis, L. (1991) Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple University Press.
Outcome Students will be assessed on their ability to:
Assessment method
1. Analyse in detail the
musical arrangement techniques exhibited by established composers
Critically examine techniques used in commercially successful compositions and arrangements
Arrangement Analysis Portfolio
2. Plan, undertake and evaluate a portfolio of arrangement devices
Compile a portfolio of material utilising various arrangement methodologies in response to the material covered in class
Arrangement Analysis Portfolio
3. Appraise the principal stylistic elements of popular music recordings
Analyse the instrumentation and production techniques utilised in popular music
Arrangement Analysis Portfolio
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
72
Marcus, G. (1993) In the Fascist Bathroom: Punk in Pop Music, 1977-92. London: Viking.
Scully, F.M. (2013) The Never-Ending revival: Rounder records and the Folk Alliance. Chicago: University of Illinois Press.
Starr, L. & Waterman, C. (2003) American Popular Music. New York & London: Oxford UP.
Tate, J. (2005) The Music and Art of Radiohead. London: Ashgate Publishing.
Toop, D. (2001) Ocean of sound: Aether talk, Ambient sounds and Imaginary worlds. London: Serpent’s Tail.
Weller, S. (2008) Girls like us: Carole King, Joni Mitchell, Carly Simon - and the Journey of a Generation. London: Atria Books.
White, T. (2006) Catch a fire: The Life of Bob Marley. London: Omnibus Press.
Websites:
www.therestisnoise.com
Google Scholar: scholar.google.com
Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
73
DN/MM615 Live Performance Workshop (SW)
Key Information
Course: BA (Hons) in Commercial Modern Music
Module Code: DN/MM615
Module Level: 6
Module Credits: 10
Pre-requisite module or learning: None
Module type: Core
Teaching & Learning
Lectures: 21 x 2 Hours
Tutorials: 2 x 1 Hour
Self-Directed Learning: 156 Hours
Module Leader: Ro Yourell Tutors: Phil Christie Louise Macnamara Ro Yourell
Module Summary
This module is shaped by two learning arcs. The first, takes students through the process of arranging and rehearsing their compositions to a standard suitable for public performance. It provides musicians with an opportunity to apply the
knowledge and skills acquired in Arrangement Analysis and Artist Development and Entrepreneurship.
The Pre-production component aims to equip writers with the creative impetus, analytical and communication skills needed to effectively MD a band and take a song or set from inception to finished product, fully arranged and rehearsed ready to gig or record. Preparation time will be limited and musicians will be expected to take full responsibility for preparation for this class, arriving with appropriate reference material, charts and lyric sheets.
The Live Performance Workshop component offers writers/performers the opportunity to further develop the prepared material to a standard suitable for live performance before an audience. In this class, performers will be put with the BIMM House Band and expected to direct the rehearsals up to a fully competent performance. Students will be encouraged to develop confident leadership skills, performance techniques, arrangement skills and the interpersonal skills necessary
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
74
for effective communication, all of which are essential to professional preparation and performance.
Both of these classes aim to encourage professional attitudes in pre-production and performance, while fostering creativity and individuality.
N.B. Students are encouraged to participate in the development of all arrangements, armed with notes on the weekly arrangements and performance ideas, continually providing critical feedback of the overall performance.
In the second arc, informed by cultural theory encountered in the Essential Development Skills module, students will be challenged to consider the nature of popular song-writing and performance, and to actively engage with it through their own practice.
Through individual and collaborative work, students will be supported in exploring the artists they are and would like to be, as they move forward in their creative journeys.
Aims
To develop the necessary leadership skills to operate as an effective MD. To develop the vocabulary to lead professional musicians from arrangement
through to performance in an analytical environment. To arrange and perform original material to a high standard quickly and
effectively. To interpret arrangements and performances with dynamics, creativity and
confidence. To critically analyse the component parts that make up a technically proficient
and engaging performance. To apply concepts from cultural theory to song-writing and performance. To effectively give and receive feedback, and implement this in an effective
manner to improve musicality and ability in performance.
Indicative Study Topics
Using musical reference material effectively and accurately to enhance arrangements.
Analysing and rehearsing individual musical parts professionally. Performing as an effective ensemble. Understanding personal and ensemble dynamics in creative and performance
situations. Performing as an emotive and committed musician. Listening to the members of the ensemble effectively and communicating on
stage. Experimenting with subject matter, and musical and performance stylings. Developing confidence as a stage performer (and learning to control
nerves/anxiety). Reflective practice and analytical skill as they apply to arranging and
performance.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
75
Teaching & Learning Methods
This module will be delivered using a range of methods including tutor presentation with audio/visual support, individual work, small group work, tutor/peer feedback and self-reflection, coursework, discussions, e-learning through the VLE, independent study and research, personal rehearsal time.
An integral part of the teaching and learning methods used to deliver this module is a system of feedback and self-reflection developed at BIMM. This includes a mixture of peer and tutor feedback, small group feedback teams and written self-reflection. The aim is to encourage reflective practice, which can then inform an open and creative work ethic. Reflection will also focus on the transferable skills employed within each song that can be applied to other performances, including the student’s own development of original material outside of the classroom.
Formative Assessment
Formative assessment will include the working up of arrangements and performances in class time, with individual tutorials available to all students. Weekly goals, research and reading will be set by tutors for outside class time study, as well as information and reading being uploaded to the VLE, to provide e-learning opportunities for all students.
Learning Outcomes
On completion of this module a successful student will be able to: 1. Apply necessary preparation and rehearsal skills for effective live ensemble
performance 2. Perform original compositions as an ensemble 3. Demonstrate appropriate presentational and interpersonal skills acting as a MD
within live ensemble performance
Assessment
No Summative
Assessment
Methods
Length Learning
Outcomes
Addressed
Assessment
Weighting
Formative/
Summative
Assessment
Week
1
Musical
Direction
Exam
20 mins 1,2,3 60% Formative W14
2
Ensemble
Performance
Exam
10 mins 1,2,3 40% Summative W25
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
76
Assignment Brief
1: Musical Direction Exam You will have a specified time slot of 30-minutes with your examiners present, in which you will be asked to work with a house band on a set composition. The track will be fully composed (top line melody and lyrics) and partially formed as an arrangement. You will be asked to lead and direct the musicians in a way that results in a successful ensemble arrangement. You will have limited time and will need to be decisive and give clear directions to the musicians. You will need to consider issues such as:
• Musical direction
• Setting clear goals
• Harmonic structure on the track
• Groove and tempo
• Individual parts
• Arrangement
• Percussion, backing vocals, etc.
• Performance
2: Live Performance You will have a specified time slot in which you will be asked to perform an original composition of your choice with other musicians. You will be required to provide a short verbal introduction/rationale, outlining how your engagement with cultural theory has informed your composition and performance. Your assessor will be looking for evidence of thorough preparation and performance skills such as:
• Pre-Production
• Confidence
• Stylistic awareness
• Musicality
• Creative arrangement
• Effective dynamics
• Communication
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
77
Assessment Criteria
Reading List
Core texts:
Byrne, David (2017) How Music Works. New York: Three Rivers Press.
Rooksby, R. (2007) Arranging Songs: How to Put the Parts Together. New York: Backbeat Books.
Additional texts:
Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.
Cameron, Julia (2012) The Artist’s Way: Spiritual Path to Higher Creativity. London: Souvenir Press.
Outcome Students will be assessed
on their ability to:
Assessment
method
1. Apply necessary
preparation and
rehearsal skills for
effective live ensemble
performance.
Prepare detailed lead sheets and
demonstrate a keen grasp of song
structure, top-line melody and lyrics.
Select, rehearse and perform suitable
ensemble repertoire.
Musical
Direction
Live
Performance
2. Perform original
compositions as an
ensemble.
Successfully achieve an ensemble
performance of original composition,
within the allocated time.
Effectively arrange and perform original
compositions with other musicians.
Musical
Direction
Live
Performance
3. Demonstrate
appropriate presentation
and interpersonal skills
acting as a MD within
live ensemble
performance.
Demonstrate high level communication
skills in directing the house band and
performing to an audience.
Communicate with fellow band
members and perform to an audience
in the context of the music being
performed.
Musical
Direction
Live
Performance
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
78
Greene, D. (2002) Performance Success: Performing your best under pressure. New York: Routledge. Taruskin, R. (1996) Text and Act: essays on musical performance. Oxford: OUP. Green, B. (2005) The Mastery of Music: Ten Pathways to True Artistry. London: Pan Books.
Fisher,J. & Kayes, G. (2016) This is a Voice: 99 Exercises. London: Welcome Collection.
Delamont, Gordon (1965) Modern Arranging Technique. New York: Kender Music.
Additional resources:
DVD Beatles Anthology Apple 1997
DVD The Band – The Last Waltz MGM 1978
DVD Nirvana - Live! Tonight! Sold out! Geffen 1994
DVD Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon Isis Productions/Eagle Rock Entertainment 2003
Reading lists are regularly supplemented on the BIMM VLE – your tutor will
advise you on any updates.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
79
Overview
The course is designed specifically for performing artists, songwriters, music teachers, and those running commercial music projects, who want to gain a degree level qualification while at the same time fulfilling their creative and commercial potential. The course encourages musicians to develop realistic and attainable career goals using a deadline-driven project element to bring focus to the individual’s aspirations.
Students have an obligation to develop their critical, analytical and reflective faculties. This is pursued while developing the high levels of technical musicianship required of professional musicians.
Alongside the attainment of these 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 practice logs, reflective elements, learning diaries and various forms of research project.
Musicians 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 Education Manager and the individual student.
Recognising the need for musicians to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:
Technical awareness and competence Performance awareness and competence Project management and music business studies Research methods Commercial composition and arrangement
A consistent theme throughout the course is reflection, requiring students to examine and learn from their experiences. The goal of the course is to assist musicians in becoming life-long, self-reliant learners, capable of determining their own future and professional progression.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
80
Educational Aims
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 performance skills relevant to employment in professional musicianship and the 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 business and the creative process in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in music and the music industry
The ability to make creative use of and experiment with new and existing methodologies 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
To describe, comment upon, analyse and discuss particular aspects of current research or equivalent advanced scholarship at the forefront of contemporary popular music and the music industry
An appreciation and recognition of the uncertainty, ambiguity and limits of knowledge within music and 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.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
81
BA Year 1 & 2 Level 6 Course Learning Outcomes
Knowledge and Understanding Able to: A1. Demonstrate awareness of key issues in their area(s) of study
A2. Identify practices and structures within professional contexts
A3. Learn and apply new concepts within a variety of contexts
A4. Identify and reproduce symbols representing music and apply aural skills
Intellectual (thinking) skills Able to: B1. Communicate ideas clearly via visual, verbal and written modes of expression
B2. Analyse information and summarise concepts
B3. Explore a range of appropriate reading material and discuss the findings
B4. Acknowledge quotations from other’s work
Subject practical skills Able to: C1. Demonstrate appropriate technical skills in relation to instrumental or vocal performance or in composition
C2. Implement appropriate forms of musical expression, demonstrating an awareness of spiritual or emotional elements
C3. Reproduce key aspects of musical styles and genres
C4. Apply skills necessary to performing music
C5. Demonstrate awareness of professional protocols and practices
Key/Transferable skills Able to: D1. Employ Information and Communication Technology (word-processing, e-mail, online sources and other electronic information services) appropriately
D2. Undergo disciplined professional development: practice, learn new repertoires, obtain new skills, identify career options
D3. Employ initiative and time management skills to carry creative and other projects to completion
D4. Present work in public, as appropriate to a range of professional contexts
D5. Utilise interpersonal skills to communicate ideas clearly and unambiguously within collaborative contexts
D6. Identify career options and access routes to employment within a variety of appropriate contexts
D7. Evaluate one’s own work to inform further professional development
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
82
BA Yr. 3 Level 7 Course Learning Outcomes
Knowledge and Understanding Able to: A1. Demonstrate awareness of the key issues in their area(s) of study, and an appreciation of why these areas are important
A2. Identify, decode, rework and reproduce symbols representing music
A3. Digest pertinent academic literature and relate it to music practice
A4. Apply concepts from fields of study to a related area of practice
A5. Make connections between the historical, social, cultural, political, philosophical, economic context of music
Intellectual (thinking) skills Able to: B1. Collect, combine and appraise information, using quotes from appropriate texts
B2. Analyse information to create and evaluate relevant arguments and ideas
B3. Acknowledge quotations and ideas from other’s work and question their hypotheses and assumptions
B4. Conceptualise and apply pertinent theories and concepts in relation to their own work
Subject practical skills Able to: C1. Demonstrate technical proficiency and sustained application of skills in relation to instrumental or vocal performance or in composition
C2. Identify the human mechanics and psychology involved in playing an instrument or singing
C3. Implement appropriate forms of expression to perform music convincingly
C4. Identify musical styles and genres aurally or by written score
C5. Utilise appropriate musical equipment for creating music
C6. Perform effectively as part of an ensemble
Key/Transferable skills Able to: D1. Employ information and communication technology (word processing, e-mail, online sources and other electronic information services) appropriately
D2. Present work in public, recognising audience expectations
D3. Use appropriate professional procedures
D4. Utilize disciplined professional development: practice, learn new repertoires, explore freelance opportunities, obtain new skills, initiate career moves
D5. Apply time management skills to demonstrate reliability and consistency
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
83
BA Yr. 4 Level 8 Course Learning Outcomes
Knowledge and understanding Able to: A1. Demonstrate comprehension of key aspects in their field of study based on the latest advances in their discipline
A2. Evaluate theoretical and aesthetic concepts, relating them to practice
A3. Draw upon a varied repertoire
A4. Discover and assimilate new musical sounds, concepts and repertoires
Intellectual (thinking) skills Able to: B1. Synthesise techniques of analysis and enquiry using established procedures
B2. Discuss, debate and appraise issues in current research and scholarship
B3. Acknowledge and evaluate the imperfections and limits of understanding within the discipline
B4. Combine inputs (materials, knowledge, intuition, convention) to generate informed and original outputs in written, aural and practical work
B5. Propose, prepare, execute and appraise original work
Subject practical skills Able to: C1. Compose or select a performance repertoire that demonstrate stylistic versatility and personal strengths
C2. Employ original ideas in an imaginative way
C3. Draw upon contextual knowledge, musical analysis, personal development and listening skills to creatively interpret the chosen repertoire
C4. Execute work effectively, acknowledging and responding to an audience
Key/Transferable skills Able to: D1. Direct their own learning, drawing on scholarly material such as research articles and/or original materials
D2. Work as a productive member of a team, responding to others and demonstrating awareness of partnership and leadership roles and responsibilities
D3. Synthesise original concepts from others, and present the results effectively
D4. Employ self-guided learning and work routines to create one’s own timetables, ensuring sufficient preparation time and meeting deadlines
D5. Apply problem-solving skills to cope with new situations, translate information and ideas, manage difficult situations, and work effectively with others under pressure
D6. Use reflective practice and critical thinking to undertake informed personal, academic and professional development.
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
84
Core Structure Diagram – Instrumental Stream *For simplicity & clarity we have separated Instrumental & songwriting streams
Year One Students take 6 modules. All modules are year-long and are mandatory.
Module Title Module Code
Credit points
Styles 1 DN/MM607 10
Techniques 1 DN/MM609 10
Music Business & Study Skills DN/MM603 10
Artist Development and Entrepreneurship
DN/MM601 10
Live Performance Workshop DN/MM605 10
Music Theory and Keyboard Skills DN/MM604 10
Year Two - Higher Certificate Award Attainable Students take 6 modules. All modules are year-long and are mandatory.
Module Title Module Code Credit points
Styles 2 DN/MM618 10
Techniques 2 DN/MM619 10
Applied Music Business & Study Skills DN/MM611 10
Essential Development Skills DN/MM614 10
Performativity & Live Music DN/MM616 10
Applied Music Theory, Transcription & Keyboard Skills
DN/MM612 10
Year Three – Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold. Students select two from six elective modules, one from Group A and one from Group B. All modules are year-long.
Module Title Module Code
Credit points
Research Methods DN/MM707 10
Professional Musicianship DN/MM706 10
Cultural Perspectives DN/MM703 10
Advanced Music Theory & Arrangement
DN/MM701 10
Electives Group A
Performance in Context DN/MM705 10
Studio Musicianship DN/MM708 10
Digital Marketing in the Music Business
DN/MM711 10
Electives Group B
The Songwriter/Producer DN/MM710 10
Studio Recording DN/MM709 10
Music Publishing DN/MM704 10
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
85
Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select three from seven elective modules which must include one module from Group A and one module from Group B. All modules are year-long.
Module Title Module Code
Credit points
Pathway A
Professional Project Major DN/MM810 20
Analytical Perspectives Minor DN/MM801 10
Pathway B
Analytical Perspectives Major DN/MM802 20
Professional Project Minor DN/MM809 10
Electives Group A
Commercial Songwriting DN/MM803 10
Solo Performance DN/MM811 10
Ensemble Performance DN/MM805 10
Options Group B:
Music Business Studies DN/MM806 10
Music Teaching Practice DN/MM807 10
Professional Development DN/MM808 10
Composition and Analysis DN/MM804 10
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
86
Core Structure Diagram – Songwriting Stream
Year One Students take six modules. All modules are year-long and are mandatory.
Module Title Module Code Credit points
Songwriting Techniques 1 DN/MM606 10
Styles Analysis DN/MM608 10
Music Business & Study Skills DN/MM603 10
Artist Development and Entrepreneurship
DN/MM601 10
Live Arrangement Workshop DN/MM602 10
Music Theory and Keyboard Skills DN/MM604 10
Year Two - Higher Certificate Award Attainable Students take six modules. All modules are year-long and are mandatory.
Module Title Module Code Credit points
Songwriting Techniques 2 DN/MM617 10
Arrangement Analysis DN/MM613 10
Applied Music Business & Study Skills DN/MM611 10
Essential Development Skills DN/MM614 10
Live Performance Workshop (SW) DN/MM615 10
Applied Music Theory, Transcription & Keyboard Skills
DN/MM612 10
Year Three - Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold and students select one from four elective modules. All modules are year-long.
Module Title Module Code Credit points
Research Methods DN/MM707 10
Cultural Perspectives DN/MM703 10
Advanced Music Theory & Arrangement DN/MM701 10
Music Publishing DN/MM704 10
The Songwriter/Producer DN/MM710 10
Electives 10
Digital Marketing in the Music Business DN/MM711 10
Performance in Context DN/MM705 10
Studio Musicianship DN/MM708 10
Studio Recording DN/MM709 10
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
87
Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select two of six elective modules, one from Group A and one from Group B. All modules are year-long.
Module Title Module Code Credit points
Pathway A
Professional Project Major DN/MM810 20
Analytical Perspectives Minor DN/MM801 10
Commercial Songwriting DN/MM803 10
Pathway B
Analytical Perspectives Major DN/MM802 20
Professional Project Minor DN/MM809 10
Commercial Songwriting DN/MM803 10
Electives Group A
Ensemble Performance DN/MM805 10
Solo Performance DN/MM811 10
Music Business Studies DN/MM806 10
Electives Group B:
Music Teaching Practice DN/MM807 10
Professional Development DN/MM808 10
Composition and Analysis DN/MM804 10
BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018
88
Major Themes
The curriculum is designed to mimic the learning experiences that a young artist or professional musician would experience within their apprenticeship in the industry. With this in mind, the courses are offered within specialist disciplines and focus is placed on the development of high-level instrumental skills. Alongside these skills students develop key business, personal and academic skills in a way that designed to equip them to be reflective and entrepreneurial practitioners.
A summary of the major themes present in the BA course is presented in the diagram below:
Major Themes for BA Commercial Modern Music
Instrumental or Songwriting skills
Technical & transferable skills - Teamwork, Music equipment, IT, communication & presentation
Performance and Production skills
Business & management (personal & project) skills
Academic skills - history & context, research, critical analysis & synthesis
Music theory, aural and notation skills