course handbook 2018-2019 ba (hons) in commercial modern ...€¦ · enjoy your remaining time here...

BA in Commercial Modern Music Year 4 Course Handbook © BIMM 2018

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Course Handbook 2018-2019

BA (Hons) in Commercial Modern Music

Year 4


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Content

• Content ................................................................................................................... 2

• Welcome Back!...................................................................................................... 6

• Year 4 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/MM810 Professional Project (Major) ........................................................................ 32

Aims .............................................................................................................................................. 33 Indicative Study Topics ................................................................................................................. 33 Teaching & Learning Methods ..................................................................................................... 33


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Formative Assessment ................................................................................................................. 33 Learning Outcomes ...................................................................................................................... 34 Assessment ................................................................................................................................... 34 Assignment Brief .......................................................................................................................... 34 Assessment Criteria ...................................................................................................................... 37 Reading List .................................................................................................................................. 38

DN/MM809 Professional Project (Minor) ........................................................................ 40 Aims .............................................................................................................................................. 40 Indicative Study Topics ................................................................................................................. 41 Teaching & Learning Methods ..................................................................................................... 41 Formative Assessment ................................................................................................................. 41 Learning Outcomes ...................................................................................................................... 42 Assessment ................................................................................................................................... 42 Assignment Brief .......................................................................................................................... 42 Assessment Criteria ...................................................................................................................... 45 Reading List .................................................................................................................................. 45

DN/MM802 Analytical Perspectives (Major) ................................................................... 48 Module Summary ......................................................................................................................... 48 Aims .............................................................................................................................................. 49 Indicative Study Topics ................................................................................................................. 49 Teaching & Learning Methods ..................................................................................................... 49 Formative Assessment ................................................................................................................. 49 Learning Outcomes ...................................................................................................................... 50 Assignment Brief .......................................................................................................................... 50 Assessment Criteria ...................................................................................................................... 51 Reading List .................................................................................................................................. 52

DN/MM801 Analytical Perspectives (Minor) ................................................................... 55 Module Summary ......................................................................................................................... 55 Aims .............................................................................................................................................. 56 Indicative Study Topics ................................................................................................................. 56 Teaching & Learning Methods ..................................................................................................... 56 Formative Assessment ................................................................................................................. 56 Learning Outcomes ...................................................................................................................... 57 Assignment Brief .......................................................................................................................... 57 Assessment Criteria ...................................................................................................................... 58 Reading List .................................................................................................................................. 59

DN/MM808 Professional Development .......................................................................... 62 Module Summary ......................................................................................................................... 62 Aims .............................................................................................................................................. 63 Indicative Study Topics ................................................................................................................. 63 Teaching & Learning Methods ..................................................................................................... 63 Formative Assessment ................................................................................................................. 64 Learning Outcomes ...................................................................................................................... 64 Assessment ................................................................................................................................... 64 Assignment Brief .......................................................................................................................... 64 Assessment Criteria ...................................................................................................................... 66 Reading List .................................................................................................................................. 67

DN/MM803 Commercial Songwriting ............................................................................. 69 Module Summary ......................................................................................................................... 69 Aims .............................................................................................................................................. 69 Indicative Study Topics ................................................................................................................. 70 Teaching & Learning Methods ..................................................................................................... 70


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Formative Assessment ................................................................................................................. 70 Learning Outcomes ...................................................................................................................... 70 Assignment Brief .......................................................................................................................... 71 Assessment Criteria ...................................................................................................................... 72

DN/MM811 Solo Performance ....................................................................................... 74 Module Summary ......................................................................................................................... 74 Aims .............................................................................................................................................. 75 Indicative Study Topics ................................................................................................................. 75 Teaching & Learning Methods ..................................................................................................... 75 Formative Assessment ................................................................................................................. 75 Learning Outcomes ...................................................................................................................... 75 Assessment ................................................................................................................................... 76 Assignment Brief .......................................................................................................................... 76 Assessment Criteria ...................................................................................................................... 77 Reading List .................................................................................................................................. 78

DN/MM805 Ensemble Performance ............................................................................... 79 Module Summary ......................................................................................................................... 79 Aims .............................................................................................................................................. 80 Indicative Study Topics ................................................................................................................. 80 Learning Outcomes ...................................................................................................................... 81 Assessment ................................................................................................................................... 81 Assignment Brief .......................................................................................................................... 82 Assessment Criteria ...................................................................................................................... 84 Reading List .................................................................................................................................. 85

DN/MM806 Music Business Studies ............................................................................... 86 Module Summary ......................................................................................................................... 86 Aims .............................................................................................................................................. 86 Indicative Study Topics ................................................................................................................. 87 Teaching & Learning Methods ..................................................................................................... 87 Formative Assessment ................................................................................................................. 87 Learning Outcomes ...................................................................................................................... 87 Assessment ................................................................................................................................... 88 Assignment Brief .......................................................................................................................... 88 Assessment Criteria ...................................................................................................................... 89 Reading List .................................................................................................................................. 90

DN/MM807 Music Teaching Practice .............................................................................. 91 Module Summary ......................................................................................................................... 91 Aims .............................................................................................................................................. 91 Indicative Study Topics ................................................................................................................. 92 Teaching & Learning Methods ..................................................................................................... 92 Formative Assessment ................................................................................................................. 92 Learning Outcomes ...................................................................................................................... 92 Assessment ................................................................................................................................... 92 Assignment Brief .......................................................................................................................... 93 Assessment Criteria ...................................................................................................................... 93 Reading List: ................................................................................................................................. 94

DN/MM804 Composition and Analysis ........................................................................... 95 Module Summary ......................................................................................................................... 95 Aims .............................................................................................................................................. 95 Indicative Study Topics ................................................................................................................. 96 Teaching & Learning Methods ..................................................................................................... 96 Formative & Summative Assessment........................................................................................... 96


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Learning Outcomes ...................................................................................................................... 96 Assessment ................................................................................................................................... 96 Assignment Brief .......................................................................................................................... 97 Assessment Criteria ...................................................................................................................... 99 Reading List ................................................................................................................................ 100

• Overview ............................................................................................................ 101

Educational Aims ........................................................................................................................ 102 BA Year 1 & 2 Level 6 Course Learning Outcomes ..................................................................... 103 BA Yr. 3 Level 7 Course Learning Outcomes .............................................................................. 104 BA Yr. 4 Level 8 Course Learning Outcomes .............................................................................. 105

• Core Structure Diagram – Instrumental Stream ........................................... 106

• Core Structure Diagram – Songwriting Stream ............................................ 108

• Major Themes .................................................................................................... 110


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Welcome Back!

Dear BIMM Musician,

Welcome back to your fourth and final year on the BA (Hons) in Commercial Modern Music at BIMM Institute Dublin. Last year it was inspiring to see the level of improvement and confidence you had achieved, not only musically, but also academically. We hope that you will be able to take the many lessons learned over the past three years and apply this knowledge to your final year studies, which will culminate in the awarding of your degree.

Enjoy your remaining time here and continue to collaborate and connect with your fellow students, getting involved in as many bands and projects as you can - this all helps to enrich your knowledge and enhance your skills. It is imperative that you use your final year to consolidate the solid network of contacts and alliances you have formed since coming to BIMM, so that when you have completed your degree you will have built a strong foundation and connection base upon which to develop your future career as a music industry professional.

It is particularly important in this final year for you to understand that if you feel you need support at any time, we will do our absolute best to help you in any way we can. As a BIMM Institute Dublin graduate, we want you to leave the college knowing that you have grown not only as a musician, but also as an individual- possessing the necessary skillset to succeed in whatever your exciting next step may be.

We are committed to having the best music college in Ireland, providing an inspiring environment where all students can flourish. As our leading cohort of musicians you can contribute to the inspirational attributes of the college by setting an example for the years behind you. We wish you the very best for a fulfilling, creative and productive time with us in your fourth year. Good luck, make the most of this great opportunity and don’t forget we are here to help you.

Dara Kilkenny

Executive Principal


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Dear BIMM Musician,

Welcome to your fourth year at BIMM Dublin and congratulations for completing the last three years successfully! It was very encouraging to see such an enthusiastic approach and high level of achievement in what was a demanding third year.

Your third year at BIMM was at an educational Level 7, a step up from BA1 and BA2, which were Level 6. This year will be the final step up in your degree programme to Level 8. In order to reach your potential, you should be willing and prepared to rise to the new challenges that you will be faced with this year.

Your feedback has informed many exciting changes to the course, including the development of key modules in BA4, perhaps the most notable being the introduction of you being able to undertake either Professional Project or Analytical Perspectives as your final, double weighted dissertation module. 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. 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 not only with your tutors, but most importantly, with each other. Constructive peer to peer feedback will be invaluable at this higher level of study. Help each other out and learn from each other as much as from your tutors.

Remember that in addition to your structured classes, you should book supplementary tutorials with a tutor from any discipline and take advantage of learning in that unique situation. You will also be able to avail of group tutorials and topic specific seminars throughout the year. These will be of particular importance this year, from an academic point of view, so please use every single resource as best you can to further your development in all areas of the programme.

You are the ones leading the way at BIMM Institute Dublin. There are many ways to apply your creativity and learning, and many different roles within the industry to consider. As we look towards the next year, we will help you realise the potential you have, in whatever direction you wish to take it, and to achieve your ultimate goal of successfully completing your degree and having a sustained, successful career in your chosen area of expertise.

I hope you’ll continue to perceive all of the staff here as being approachable and fully invested in helping you achieve your objectives. We’re here 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 final year at BIMM!

Mark Greaney

Head of Education


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Year 4 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 up to and including the final ‘summative’ assessment, except on non-written assessment weeks (greyed-out below):

Wk. W/C

DN/MM810/809 DN/MM801/802 DN/MM808

DN/MM803

DN/MM811

DN/MM805

DN/MM806

DN/MM807

DN/MM804

Professional Project

(Major/Minor)

Analytical Perspectives

(Major/Minor)

Professional Development

Commercial Song-writing

Solo Performance

Ensemble Performance

Music Business Studies

Music

Teaching

Practice

Composition and

Analysis

Term 1

1 17/09/2018

2 24/09/2018

3 01/10/2018

4 08/10/2018

5 15/10/2018

6 22/10/2018

Review Week

29/10/2018

7 05/11/2018

8 12/11/2018

L&L Gig

9 19/11/2018

10 26/11/2018

11 03/12/2018

12 10/12/2018 Project Planning Proposal

EOT Gig

Performance Exam 1

Original Composition

1

Term 2

13 07/01/2019

14 14/01/2019

15 21/01/2019

16 28/01/2019

Performance

Exam 1

17 04/02/2019 Performance

Exam 1 L&L Gig

18 11/02/2019

Development Essay

19 18/02/2019

Written Exam

20 25/02/2019

Song Analysis & Arranging Project

21 04/03/2019

22 11/03/2019

EOT Gig

Review Week

18/03/2019

Term 3

23 25/03/2019

24 01/04/2019

25 08/04/2019 Applied Project

(10 Credits)

Essay

(10 Credits) Performance

Exam 2

Performance

Exam 2

Practical

Teaching

Assessment

Easter Break

15/04/2019

26 29/04/2019

L&L Gig

Patchwork Text Portfolio Assessment

Project Portfolio

Performance

Exam 2

Performance

Exam 2 Business

Case Study

Practical

Teaching

Assessment

Original Composition

2

27 06/05/2019 Applied Project

(20 Credits)

Dissertation (20 Credits)

Performance

Exam 2

Performance

Exam 2

Practical

Teaching

Assessment

Viva Voce

28 13/05/2019

Performance

Exam 2

Performance

Exam 2

Teaching

Project

Portfolio

Viva Voce

29 20/05/2019

EOT Gig Performance

Exam 2

Performance

Exam 2 Viva Voce


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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.

http://www.bimm.ie/academic-quality/

https://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/



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2. Redo assessments/assignments/essays/projects 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.

• 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.




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• 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.

• 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.




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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.


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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.


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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.


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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.


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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.


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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.

The work demonstrates a good level of technical competence and skills and is supported by external knowledge that is well referenced where required


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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.


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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


20

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.


21

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.


22

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.


23

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.

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.


24

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.

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.


25

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.


26

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.


27

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.


28

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


29

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

http://www.bimmstudents.com/


30

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.

http://www.bimmstudents.com/

mailto:[email protected]

mailto:[email protected]


31

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.


32

Module Information

DN/MM810 Professional Project (Major)

Key Information

Course: BA (Hons) in Commercial Modern Music

Module Code: DN/MM810

Module Level: 8

Module Credits: 20

Pre-requisite module or learning: BIMM13 Research Methods

Module type: Core

Teaching & Learning

Lectures: 26 x 1.5 Hours

Tutorials: 2 x 1 Hour

Self-Directed Learning: 359 Hours

Module Leader: Michael Moloney Tutors: Michael Moloney Module Summary This module ensures that students confront their responsibilities as professionals and manage a project that is rooted firmly in the professional world. Jobs in the music business vary enormously and musicians need to be adaptable and flexible in order to carve their own niche in the industry. Final projects must be realistic and achievable, and are linked with the earlier Course Planning and Research Methods modules. During the module, students will consolidate the skills and experience gained through the course of their studies. These include industry related skills, and research methods enabling them to analyse, interpret, and reflect upon their chosen project activity in a systematic fashion. In the final stage of their studies, students will be able to utilise their analysis of past experience to create theories upon which to base models for future working practice.


33

Aims

Devise an effective project for the public arena Analyse previous academic and practical experiences during the B.A. course and

apply these effectively and appropriately within the context of a research project. Practically apply appropriate research methodologies to a real world project Evidence effective project management

Indicative Study Topics

The practical application of research methodologies within the context of a professional project

Press, promotions and media management (including tour management) Distribution of music-related products Team working skills (including team role allocation and leadership skills) Project Planning and Project Management Reflective and learning skills The appropriate layout and presentation of business plans – constructing a

convincing real world project

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 demonstration, and e-learning through the BIMM VLE and independent study and research. Tutorial support is co-ordinated by the module leader. It is your responsibility to initiate feedback once the lecture period is over, and to book tutorials through the usual system. Professional Project Seminars will be an opportunity to discuss drafts of your final project.

Formative Assessment

Formative assessment will help to monitor individual student progress using class Q&A, peer-to-peer communication, written assignments, presentations, course work, independent study, and research.


34

Learning Outcomes

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

1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project

2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory* and arguments to rationalise project activity

3. Demonstrate a practical understanding of music related project management skills

4. Apply reflective practices to a music related project, linking theory* with practice and producing recommendations for future working practice.

*For clarity, this is not necessarily cultural theory, it is any informed approach. For example, in an educational project, this would include educational theory etc.

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Project

Planning

Proposal

1,000

Words 1,2,3 20% Formative W12

2 Project

Report

8000

Words 1,2,3,4 80% Summative W27

Assignment Brief

1. Project Planning Proposal (1,000 words) - Individual Work

The Proposal will outline the project that you will subsequently undertake in this module. You will need to describe and justify your choice of project, proposed research methodology, provide foundational theory in your chosen area of expertise (literature review), and a proposed project timeline. Students are advised to negotiate their choice of subject and methodology carefully with the subject tutor before committing to a set path.


35

It will contain the following sections: Project Overview & Introduction, Preliminary Literature Review, Proposed Methodology, Timeline (in graph format), Indicative Bibliography. Please Note: Students must also submit an ethics form.

2. Project Report (8,000 words) - Individual Work The project is a written analysis and evaluation of a professional project that you have undertaken. Your project report should meet the academic requirements of the course; you should ensure that you have given full attention to academic arguments and the critical action that links with analytical thinking. Your work should: Maintain a critical approach. Be coherent and concise. Be persuasive, developing a reasoned train of thought that makes clear the

parameters of the project. Demonstrate the ability to analyse and qualify data and experience, drawing

conclusions and recommending improved future working practice. Evidence practical application of theoretical concepts.

You do not need to have completed your project activity and analysis before starting to write up the report. The format for the project is listed below: Title page - Title of project, module title, name, and date. Contents page - With chapter headings and page numbers (do this section last!) Abstract - A concise overview of your project, the theory behind it, and its overall aims. This section should also include a brief outline of the methods used and an indication of the results obtained. Introduction - This is likely to be an explanation of why the project area is important, putting it into a professional context and mapping the choice of project against the specified project criteria. It should also provide an extensive review of relevant literature, providing a context and rationale for the current project. You should demonstrate the way in which supporting literature (or other material) influenced and shaped your study. You should not restrict yourself solely to discussing material that agrees with your point of view, but rather give a balanced overview of the current state of the research area: evaluating conflicting sources is an important part of research. This section should end with a brief outline of how you conducted the research (no procedural details) and a general indication of the results garnered from the project. Methodology - Describe and justify your choice of research methods. You should critically evaluate the approaches used, discussing your approach to data collection, analysis, and ethics.


36

Results - Report the key results of your primary research. This can be illustrated with graphs/tables. Describe patterns and identify salient trends in the data. However, there is no in-depth interpretation of results in this section. Discussion – Here you engage in an interpretation of the results and a discussion of the meaning behind trends in the data. You might describe how your results fit with existing literature and how they could usefully be applied to your professional activity. Avoid making sweeping claims in this section—rather, results ‘lend support’. This is also a place to mention any methodological confounds. Professional activity - A depersonalised narrative of the practical tasks carried out on the basis of your research. This is an opportunity to demonstrate how your activity was informed by the results of your primary research. Conclusions and recommendations - Here you can present the main conclusions derived from your research and reflect on their application in your professional activity. This section needs to be clear and concise, with the conclusions clearly drawn from the project findings and professional activity. You should analyse past experience to create theories upon which to base models for future working practice. References - Use footnotes to add information without interrupting the flow of your sentences. Use bibliographic references to support your argument. Appendices - Illustrative and support materials referred to in the text should be included in appendices. It should contain a full Work Breakdown Structure (project timeline), and any other supporting documents.


37

Assessment Criteria

Learning outcome Students will be assessed

on their ability to:

Assessment

method

1. Demonstrate a

considered approach

to ensuring validity and

accuracy within the

context of a project

Comment critically on the validity and

accuracy of their own research activity

and findings

Project

Planning

Proposal/

Project Report

2. Undertake a music

related project activity

within the professional

and academic arena,

demonstrating the

ability to discuss

existing theory and

arguments to

rationalise project

activity

Draw upon existing thinking in the

appropriate specialist field(s) to refine

and justify approaches and activity

Project

Planning

Proposal/

Project Report

3. Demonstrate a

practical understanding

of music related project

management skills

Allocate team roles effectively

Resolve team issues (such as discipline

and conflict) appropriately

Produce relevant planning

documentation and financial planning

details (profit forecasts and actual profit

and loss accounts) where appropriate

Project

Planning

Proposal/

Project Report

4. Apply reflective

practices to a music

related project, linking

theory with practice

and producing

recommendations for

future working practice

Analyse past experience to create

theories upon which to base models for


Project Report


38

Reading List

Core texts:

Byrne, David (2012) How Music Works. Edinburgh: Canongate.


Merriam, S. Tisdell, E. (2015) Qualitative Research: A Guide to Design and Implementation. San Francisco: Jossey-Bass.

Rogers, J. (2013) The Death and Life of the Music Industry in the Digital Age. Bloomsbury. NY & London: Bloomsbury.

Sanghera, P. (2009) 90 Days to Success as a Project Manager. Boston, MA: Course Technology.

Additional recommended texts:

Research

Walliman, N. (2011) Research Methods- The Basics. London: Routledge

McIntosh, P. (2010) Action Research and Reflective Practice. London: Routledge

Project Management

Verzuh, E. (2008) The Fast Forward MBA in Project Management. Hoboken, N.J.: John Wiley & Sons

Business Planning

Finch, B. (2013) How to Write a Business Plan. Kogan Page.

Hughes, V and Weller, D. (2010) Set Up a Successful Small Business. Hodder Education Group.

Reuvid, J. (2011) Start Up and Run Your Own Business. Kogan Page.

Marketing

Holloman, C. (2012) The Social Media MBA. London: John Wiley and Sons.

Korhan, J. (2013) Built in Social: Essential Social Marketing Practices for Every Small Business. London: John Wiley and Sons.

Moore, J. (2012) Your Band is a Virus. Independent Music Promotions.

Music Industry

Allen, P. (2011) Artist Management for the Music Business. Amsterdam: Focal Press.

Atkins, M. (2007) Tour Smart and Break the Band. Chicago, Smart Books.

Beeching, A. (2010) Beyond Talent: Creating A Successful Career In Music. New York: Oxford University Press.


39

Christian, E. (2011) Rock Brands: Selling Sound in a Media Saturated Culture. Lanham [Md.]: Lexington Books.

Hull, G, Hutchison, T, & Strasser, R. (2011) The Music Business and Recording Industry: Delivering Music in the 21St Century. New York: Routledge.

Reynolds, A. (2008) The Tour Book: How To Get Your Music On The Road. Boston, MA: Thomson Course Technology.

Strasser, R. (2009) Music Business: The Key Concepts. London: Routledge.

Wikstrom, P. (2013) Music in the cloud. Cambridge: Polity.

Journals

Journal of New Music Research Taylor & Francis

Popular Music Cambridge University Press

Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


40

DN/MM809 Professional Project (Minor)

Key Information



Module Level: 8

Module Credits: 10

Pre-requisite module or learning: BIMM13 Research Methods

Module type: Core

Teaching & Learning




Module Leader & Tutor: Michael Moloney Module Summary This module ensures that students confront their responsibilities as professionals and manage a project that is rooted firmly in the professional world. Jobs in the music business vary enormously and musicians need to be adaptable and flexible in order to carve their own niche in the industry. Final projects must be realistic and achievable, and are linked with the earlier Course Planning and Research Methods modules. During the module, students will consolidate the skills and experience gained through the course of their studies. These include industry related skills, and research methods enabling them to analyse, interpret, and reflect upon their chosen project activity in a systematic fashion. In the final stage of their studies, students will be able to utilise their analysis of past experience to create theories upon which to base models for future working practice.

Aims

Devise an effective project for the public arena Analyse previous academic and practical experiences during the B.A. course and

apply these effectively and appropriately within the context of a research project. Practically apply appropriate research methodologies to a real world project Evidence effective project management


41


The practical application of research methodologies within the context of a professional project

Press, promotions and media management (including tour management) Distribution of music-related products Team working skills (including team role allocation and leadership skills) Project Planning and Project Management Reflective and learning skills The appropriate layout and presentation of business plans – constructing a

convincing real world project


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 demonstration, and e-learning through the BIMM VLE and independent study and research. Tutorial support is co-ordinated by the module leader. It is your responsibility to initiate feedback once the lecture period is over, and to book tutorials through the usual system. Professional Project Seminars will be an opportunity to discuss drafts of your final project.


Formative assessment will help to monitor individual student progress using class Q&A, peer-to-peer communication, written assignments, presentations, course work, independent study, and research.


42

Learning Outcomes


1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project

2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory* and arguments to rationalise project activity

3. Demonstrate a practical understanding of music related project management skills

4. Apply reflective practices to a music related project, linking theory* with practice and producing recommendations for future working practice.

*For clarity, this is not necessarily cultural theory, it is any informed approach. For example, in an educational project, this would include educational theory etc.

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Project

Planning

Proposal

1,000

Words 1,2,3 20% Formative W12

2 Project

Report

4000

Words 1,2,3,4 80% Summative W25

Assignment Brief

1. Project Planning Proposal (1,000 words) - Individual Work

The Proposal will outline the project that you will subsequently undertake in this module. You will need to describe and justify your choice of project, proposed research methodology, provide foundational theory in your chosen area of expertise (literature review), and a proposed project timeline. Students are advised to negotiate their choice of subject and methodology carefully with the subject tutor before committing to a set path.


43

It will contain the following sections: Project Overview & Introduction, Preliminary Literature Review, Proposed Methodology, Timeline (in graph format), Indicative Bibliography. Please Note: Students must also submit an ethics form.

2. Project Report (4,000 words) - Individual Work The project is a written analysis and evaluation of a professional project that you have undertaken. Your project report should meet the academic requirements of the course; you should ensure that you have given full attention to academic arguments and the critical action that links with analytical thinking. Your work should: Maintain a critical approach. Be coherent and concise. Be persuasive, developing a reasoned train of thought that makes clear the

parameters of the project. Demonstrate the ability to analyse and qualify data and experience, drawing

conclusions and recommending improved future working practice. Evidence practical application of theoretical concepts.

You do not need to have completed your project activity and analysis before starting to write up the report. The format for the project is listed below: Title page - Title of project, module title, name, and date. Contents page - With chapter headings and page numbers (do this section last!) Abstract - A concise overview of your project, the theory behind it, and its overall aims. This section should also include a brief outline of the methods used and an indication of the results obtained. Introduction - This is likely to be an explanation of why the project area is important, putting it into a professional context and mapping the choice of project against the specified project criteria. It should also provide an extensive review of relevant literature, providing a context and rationale for the current project. You should demonstrate the way in which supporting literature (or other material) influenced and shaped your study. You should not restrict yourself solely to discussing material that agrees with your point of view, but rather give a balanced overview of the current state of the research area: evaluating conflicting sources is an important part of research. This section should end with a brief outline of how you conducted the research (no procedural details) and a general indication of the results garnered from the project. Methodology - Describe and justify your choice of research methods. You should critically evaluate the approaches used, discussing your approach to data collection, analysis, and ethics.


44

Results - Report the key results of your primary research. This can be illustrated with graphs/tables. Describe patterns and identify salient trends in the data. However, there is no in-depth interpretation of results in this section. Discussion – Here you engage in an interpretation of the results and a discussion of the meaning behind trends in the data. You might describe how your results fit with existing literature and how they could usefully be applied to your professional activity. Avoid making sweeping claims in this section—rather, results ‘lend support’. This is also a place to mention any methodological confounds. Professional activity - A depersonalised narrative of the practical tasks carried out on the basis of your research. This is an opportunity to demonstrate how your activity was informed by the results of your primary research. Conclusions and recommendations - Here you can present the main conclusions derived from your research and reflect on their application in your professional activity. This section needs to be clear and concise, with the conclusions clearly drawn from the project findings and professional activity. You should analyse past experience to create theories upon which to base models for future working practice. References - Use footnotes to add information without interrupting the flow of your sentences. Use bibliographic references to support your argument. Appendices - Illustrative and support materials referred to in the text should be included in appendices. It should contain a full Work Breakdown Structure (project timeline), and any other supporting documents.


45

Assessment Criteria

Reading List

Core Texts:

Learning outcome Students will be assessed


Assessment

method

1. Demonstrate a

considered approach to

ensuring validity and

accuracy within the

context of a project

Comment critically on the validity and

accuracy of their own research activity

and findings

Project

Planning

Proposal/

Project Report

2. Undertake a music

related project activity

within the professional

and academic arena,

demonstrating the ability

to discuss existing theory

and arguments to

rationalise project activity

Draw upon existing thinking in the

appropriate specialist field(s) to refine

and justify approaches and activity

Project

Planning

Proposal/

Project Report

3. Demonstrate a

practical understanding of

music related project

management skills

Allocate team roles effectively

Resolve team issues (such as discipline

and conflict) appropriately

Produce relevant planning

documentation and financial planning

details (profit forecasts and actual profit

and loss accounts) where appropriate

Project

Planning

Proposal/

Project Report

4. Apply reflective

practices to a music

related project, linking

theory with practice and

producing

recommendations for


Analyse past experience to create

theories upon which to base models for


Project Report


46



Merriam, S. Tisdell, E. (2015) Qualitative Research: A Guide to Design and Implementation. San Francisco: Jossey-Bass.

Rogers, J. (2013) The Death and Life of the Music Industry in the Digital Age. Bloomsbury. NY & London: Bloomsbury.

Sanghera, P. (2009) 90 Days to Success as a Project Manager. Boston, MA: Course Technology.

Additional recommended texts:

Research

Walliman, N. (2011) Research Methods- The Basics. London: Routledge

McIntosh, P. (2010) Action Research and Reflective Practice. London: Routledge

Project Management

Verzuh, E. (2008) The Fast Forward MBA in Project Management. Hoboken, N.J.: John Wiley & Sons

Business Planning

Finch, B. (2013) How to Write a Business Plan. Kogan Page.

Hughes, V and Weller, D. (2010) Set Up a Successful Small Business. Hodder Education Group.

Reuvid, J. (2011) Start Up and Run Your Own Business. Kogan Page.

Marketing

Holloman, C. (2012) The Social Media MBA. London: John Wiley and Sons.

Korhan, J. (2013) Built in Social: Essential Social Marketing Practices for Every Small Business. London: John Wiley and Sons.

Moore, J. (2012) Your Band is a Virus. Independent Music Promotions.

Music Industry

Allen, P. (2011) Artist Management for the Music Business. Amsterdam: Focal Press.

Atkins, M. (2007) Tour Smart and Break the Band. Chicago, Smart Books.

Beeching, A. (2010) Beyond Talent: Creating A Successful Career In Music. New York: Oxford University Press.

Christian, E. (2011) Rock Brands: Selling Sound in a Media Saturated Culture. Lanham [Md.]: Lexington Books.


47

Hull, G, Hutchison, T, & Strasser, R. (2011) The Music Business and Recording Industry: Delivering Music in the 21St Century. New York: Routledge.

Reynolds, A. (2008) The Tour Book: How To Get Your Music On The Road. Boston, MA: Thomson Course Technology.

Strasser, R. (2009) Music Business: The Key Concepts. London: Routledge.

Wikstrom, P. (2013) Music in the cloud. Cambridge: Polity.

Journals

Journal of New Music Research Taylor & Francis

Popular Music Cambridge University Press



48

DN/MM802 Analytical Perspectives (Major)

Key Information



Module Level: 8

Module Credits: 20

Pre-requisite module or learning: DN/MM703 Cultural Perspectives

Module type: Elective

Teaching & Learning



Self- Directed Learning: 358 Hours

Module Leader and Tutor: Brian Dillon

Module Summary

Professional musicians and artists must have an appreciation of historically important material if they are to enjoy long-term success and credibility. Few established popular musicians are unaware of the traditions in which they perform, and contemporary artists who understand recent developments in music can build upon that foundation by producing innovative material.

This module presents a critical history of popular music from 1970 to the present day. Significant artists will be examined in relation to their cultural, social, and political impact and their continuing influence on contemporary music genres. Explorations of canonical and innovative artists will be performed through various cultural theories and themes, enabling a systematic evaluation of aesthetic value in contemporary popular music.

You will be expected to develop a sophisticated understanding of our cultural and musical antecedents and will be encouraged to analyse, synthesise, and evaluate the circumstances around significant moments in the history of popular music since 1970.

This module will oblige you to engage with critical readings, guided by your tutor, and demonstrate an appropriate level of academic rigour. You will be required to engage in critical debate with full justifications and explanations for your reasoning.


49

The 8,000 word dissertation facilitates a deeper investigation and analysis of popular music via subfields of critical theory such as postcolonialism, feminist theory, postmodernism, neoliberalism, and political philosophy. As a ‘double-weighted’ module, additional seminars and tutorials will be provided to supervise dissertation concepts, research and development.

Aims

Students will be encouraged to examine significant moments in the evolution of popular music genres. Important artists and their work within each genre will be analysed according to the factors that have made them influential cultural icons.

This will include:

Lyrical inventiveness and musical creativity The cultural, social, and political context of their epoch Economic, social, and technological change Theoretical approaches to popular music grounded in cultural studies Aesthetics and the philosophy of music


Study topics may include:

Theodor Adorno and the Frankfurt School Aesthetics and the philosophy of music Postmodernism in pop and rock music African-American cultural expression in funk, hip hop, ebonics, gangsta rap Postcolonialism and cultural expression Feminism, third wave feminism, and post-feminism Structuralism and post-structuralism Neoliberalism and cultural production Krautrock: synthesizers, sampling and the avant-garde Punk and post-punk culture


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 through the BIMM VLE and independent study and research.


Formative assessment includes tutorials, verbal and written feedback on draft essays in class, seminars, group tutorials, Q&A and discussion sessions in class.


50

Learning Outcomes


1. Analyse and interpret the development of a key genre in Popular Music from 1970 to the present day

2. Critically evaluate the relationship between Popular Music and wider cultural issues

3. Construct an informed argument about the contribution of a key artist from this period

4. Critically appraise the artist’s cultural significance, using scholarly literature at the forefront of the discipline

Assessment

No Summative

Assessment Methods

Length Learning Outcomes Addressed

Assessment Weighting

Formative/

Summative

Assessment Week

1 Dissertation 8,000

words 1,2,3,4 100% Summative W27

Assignment Brief

1. Dissertation (8,000 words)

This assignment asks you to evaluate the social, cultural, and political context of an important and influential album release/collection of work in the period 1970 to the present day.

Students are required to develop a clear and coherent written argument that demonstrates deep reading (including material on the course reading list and peer reviewed academic journals) and shows an appreciation of the module’s rationale.

Choose an artist from the period 1970-present day and examine their relationship to their cultural and social context with reference to an important or influential album or collection of work.

Analyse your chosen artist and album/collection of work in relation to their associated genre. Discuss their social context and their lyrical and musical creativity. Evaluate their impact on popular music and on wider popular culture as a whole. Your dissertation must engage with appropriate theoretical approaches covered in class, and adhere to academic standards and HRS.

The work should be well structured and free from grammatical errors. Essays should be presented according to the written work submission guidelines published in this manual.


51

*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


Demonstrate a detailed knowledge and informed understanding of the career of a genre-defining artist Comment critically on the contribution of that artist to their associated genre of popular music and their wider contribution to popular culture

Dissertation


Critically evaluate the contribution or status of a key artist in relation to societal and cultural values in the period Comment on the interaction between popular music and important cultural and/or social developments in the period Present arguments coherently and clearly

Dissertation


Present a detailed evaluation of contribution of an important artist from the period Make informed references to influential work from a key artist Engage with appropriate theoretical approaches to popular music studies

Dissertation


Demonstrate academic rigour by engaging with a wide range of literature (including peer review journals and other resources on the reading list) Present fully referenced work accompanied by a detailed and relevant bibliography. Engage with appropriate theoretical approaches to popular music studies

Dissertation


52

Reading List

Core text: Longhurst, Brian and Danijela Bogdanovic (2014) Popular Music and Society. Cambridge: Polity. Storey, J. (2015) Cultural Theory and Popular Culture: An Introduction. London: Routledge. Fisher, M. (2009) Capitalist Realism: Is There No Alternative? Winchester: Zero Books Cultural Theory: Adorno, T. & Horkheimer, M. (1944) “The Culture Industry: Enlightenment as Mass Deception”. Available at: http://marxists.org/reference/archive/adorno/1944/culture-industry.htm (accessed 24 October 2016). Kania, A. & Gracyk, T. (2011) The Routledge Companion to Philosophy and Music New York: Routledge. Appignanesi, R. & Garrett, C. (2007) Introducing Postmodernism: A Graphic Guide to Cutting Edge Thinking. London: Icon Books Ltd Edgar, A. & Sedgwick, P. (2002) Cultural Theory: The Key Concepts. Abingdon, Oxon: Routledge. Sim, S. (2001) The Routledge Companion to Postmodernism. Abingdon, Oxon: Routledge. Storey, J. (2015) Cultural Theory and Popular Culture. 6th end. London: Longman. Wilson, R. (2007) Theodor Adorno (Routledge Critical Thinkers). Abingdon, Oxon: Routledge. Funk & Hip Hop: Banfield, W. C. (2010) Cultural Codes: Makings of a Black Music Philosophy: an interpretive History From Spirituals to Hip Hop. Lanham: Scarecrow Press. Forman, F. (ed) (2012) That’s the Joint!: The Hip Hop Studies Reader. Abingdon, Oxon: Routledge. Hess, M. (2010) Hip Hop in America: A Regional Guide. Westport: Greenwood Press. Middleton, R. (2000) Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford: OUP. Rabaka, R. (2012) Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement. Lanham, Maryland: Lexington Books. Rose, T. (1994) Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press Werner, C, (2002) A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate. Westhoff, B. (2011) Dirty South: Outkast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-Hop. Chicago: Chicago Review Press. Indie & Classic Rock:

http://marxists.org/reference/archive/adorno/1944/culture-industry.htm



53

Bannister, M. (2006) White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock (Ashgate Popular and Folk Series). London: Ashgate Press. Bennett, A. (2010) Britpop and the English Music Tradition (Ashgate Popular and Folk Series) London: Ashgate Press. Calhoun, S. (2012) Exploring U2: Is This Rock 'n' Roll?: Essays on the Music, Work, and Influence of U2. Lanham, MD: Scarecrow Press. Forbes, B. (2009) Radiohead And Philosophy (Popular Culture and Philosophy) Peru, Illinois: Open Court. Reisch, G. (2007) Pink Floyd And Philosophy: Careful With That Axiom, Eugene! (Popular Culture and Philosophy). Peru, Illinois: Open Court. Wener, L. (2011) Just For One Day: Adventures in Britpop. London: Ebury Press. Wrathall, M. (2009) U2 And Philosophy (Popular Culture and Philosophy) Peru, Illinois: Open Court. Rock & Metal: Inglis, I. (ed) (2006) Performance and Popular Music: History, Place and Time. Aldershot: Ashgate Publishing Limited. Irwin, W. (2012) Black Sabbath and Philosophy: Mastering Reality. Oxford: Wiley-Blackwell. Irwin, W. (2007) Metallica And Philosophy: A Crash Course in Brain Surgery. Oxford: Wiley-Blackwell. Lewis, D. (2009) Led Zeppelin and Philosophy: All Will Be Revealed. Peru, Illinois: Open Court. Walser, R. (1993) Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Middletown: Weslyan University Press. Pop: Fisher, M. (2009) The Resistible Demise of Michael Jackson. London: Zero Books. Gilbert, G-C. (2002) Madonna as Postmodern Myth: How one Star’s Self-Construction Rewrites Sex, Gender, Hollywood and the American Dream. London: McFarland. Lloyd, F. (1993) Deconstructing Madonna (Cultural Studies). London: Batsford. Moy, A. (2007) Kate Bush and the Hounds of Love (Ashgate Popular and Folk Series). London: Ashgate Press. Valenti, J. (2012) Madonna and Me: Women Writers on the Queen of Pop. London: Soft Skull Press. Punk: Hebdige, D. (1988) Subculture: The Meaning of Style (New Accents). Abingdon, Oxon: Routledge. Inglis, I. (ed) (2006) Performance and Popular Music: History, Place and Time. Aldershot: Ashgate Publishing Limited. Inglis, I. (2010) Popular Music and Television in Britain. Aldershot: Ashgate Publishing Limited. Savage, J. (2001) England’s Dreaming. London: Faber & Faber.


54

Journals: ECHO: A Music-Centred Journal UCLA IASPM@Journal Jazz Perspectives Routledge Journal of Popular Music Studies Blackwell Publishing Popular Music and Society Routledge Popular Music CUP Popular Music History Equinox Popular Musicology Online University of Oslo Radical Musicology, Online Journal, Newcastle University Soundscapes: Journal on Media Culture Southern Cultures Websites: Rock’s Back Pages: www.rocksbackpages.co.uk Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


55

DN/MM801 Analytical Perspectives (Minor)

Key Information



Module Level: 8

Module Credits: 10

Pre-requisite module or learning: DN/MM703 Cultural Perspectives

Module type: Core

Teaching & Learning



Self- Directed Learning: 160 Hours

Module Leader and Tutor: Brian Dillon

Module Summary

Professional musicians and artists must have an appreciation of historically important material if they are to enjoy long-term success and credibility. Few established popular musicians are unaware of the traditions in which they perform, and contemporary artists who understand recent developments in music can build upon that foundation by producing innovative material.

This module presents a critical history of popular music from 1970 to the present day. Significant artists will be examined in relation to their cultural, social, and political impact and their continuing influence on contemporary music genres. Explorations of canonical and innovative artists will be performed through various cultural theories and themes, enabling a systematic evaluation of aesthetic value in contemporary popular music.

You will be expected to develop a sophisticated understanding of our cultural and musical antecedents and will be encouraged to analyse, synthesise, and evaluate the circumstances around significant moments in the history of popular music since 1970.

This module will oblige you to engage with in depth reading and demonstrate an appropriate level of academic rigour. You will be required to engage in critical debate with full justifications and explanations for your reasoning.


56

Aims

Students will be encouraged to examine significant moments in the evolution of popular music genres. Important artists and their work within each genre will be analysed according to the factors that have made them influential cultural icons.

This will include:

Lyrical inventiveness and musical creativity The cultural, social, and political context of their epoch Economic, social, and technological change Theoretical approaches to popular music grounded in cultural studies Aesthetics and the philosophy of music


Study topics may include:

Theodor Adorno and the Frankfurt School Aesthetics and the philosophy of music Postmodernism in pop and rock music African-American cultural expression in funk, hip hop, ebonics, gangsta rap Postcolonialism and cultural expression Feminism, third wave feminism, and post-feminism Structuralism and post-structuralism Neoliberalism and cultural production Krautrock: synthesizers, sampling and the avant-garde Punk and post-punk culture


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 through the BIMM VLE and independent study and research.


Formative assessment includes tutorials, verbal and written feedback on draft essays in class, seminars, group tutorials, Q&A and discussion sessions in class.


57

Learning Outcomes






Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1 Essay 4,000


Assignment Brief

1. Essay (4,000 words)

This assignment asks you to evaluate the social, cultural, and political context of an important and influential album release/collection of work in the period 1970 to the present day.

Students are required to develop a clear and coherent written argument that demonstrates deep reading (including material on the course reading list and peer reviewed academic journals) and shows an appreciation of the module’s rationale.

Choose an artist from the period 1970-present day and examine their relationship to their cultural and social context with reference to an important or influential album or collection of work.

Analyse your chosen artist and album/collection of work in relation to their associated genre. Discuss their social context and their lyrical and musical creativity. Evaluate their impact on popular music and on wider popular culture as a whole. Your essay must engage with appropriate theoretical approaches covered in class, and adhere to academic standards and HRS.

The work should be well structured and free from grammatical errors. Essays should be presented according to the written work submission guidelines published in this manual.


58

*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


Assessment method


Demonstrate a detailed knowledge and informed understanding of the career of a genre-defining artist Comment critically on the contribution of that artist to their associated genre of popular music and their wider contribution to popular culture

Essay


Critically evaluate the contribution or status of a key artist in relation to societal and cultural values in the period Comment on the interaction between popular music and important cultural and/or social developments in the period Present arguments coherently and clearly

Essay


Present a detailed evaluation of contribution of an important artist from the period Make informed references to influential work from a key artist Engage with appropriate theoretical approaches to popular music studies

Essay


Demonstrate academic rigour by engaging with a wide range of literature (including peer review journals and other resources on the reading list) Present fully referenced work accompanied by a detailed and relevant bibliography. Engage with appropriate theoretical approaches to popular music studies

Essay


59

Reading List

Core text: Longhurst, Brian and Danijela Bogdanovic (2014) Popular Music and Society. Cambridge: Polity. Storey, J. (2015) Cultural Theory and Popular Culture: An Introduction. London: Routledge. Fisher, M. (2009) Capitalist Realism: Is There No Alternative? Winchester: Zero Books Cultural Theory: Adorno, T. & Horkheimer, M. (1944) “The Culture Industry: Enlightenment as Mass Deception”. Available at: http://marxists.org/reference/archive/adorno/1944/culture-industry.htm (accessed 24 October 2016). Kania, A. & Gracyk, T. (2011) The Routledge Companion to Philosophy and Music New York: Routledge. Appignanesi, R. & Garrett, C. (2007) Introducing Postmodernism: A Graphic Guide to Cutting Edge Thinking. London: Icon Books Ltd Edgar, A. & Sedgwick, P. (2002) Cultural Theory: The Key Concepts. Abingdon, Oxon: Routledge. Sim, S. (2001) The Routledge Companion to Postmodernism. Abingdon, Oxon: Routledge. Storey, J. (2015) Cultural Theory and Popular Culture. 6th end. London: Longman. Wilson, R. (2007) Theodor Adorno (Routledge Critical Thinkers). Abingdon, Oxon: Routledge. Funk & Hip Hop: Banfield, W. C. (2010) Cultural Codes: Makings of a Black Music Philosophy: an interpretive History From Spirituals to Hip Hop. Lanham: Scarecrow Press. Forman, F. (ed) (2012) That’s the Joint!: The Hip Hop Studies Reader. Abingdon, Oxon: Routledge. Hess, M. (2010) Hip Hop in America: A Regional Guide. Westport: Greenwood Press. Middleton, R. (2000) Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford: OUP. Rabaka, R. (2012) Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement. Lanham, Maryland: Lexington Books. Rose, T. (1994) Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press Werner, C, (2002) A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate. Westhoff, B. (2011) Dirty South: Outkast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-Hop. Chicago: Chicago Review Press.




60

Indie & Classic Rock: Bannister, M. (2006) White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock (Ashgate Popular and Folk Series). London: Ashgate Press. Bennett, A. (2010) Britpop and the English Music Tradition (Ashgate Popular and Folk Series) London: Ashgate Press. Calhoun, S. (2012) Exploring U2: Is This Rock 'n' Roll?: Essays on the Music, Work, and Influence of U2. Lanham, MD: Scarecrow Press. Forbes, B. (2009) Radiohead And Philosophy (Popular Culture and Philosophy) Peru, Illinois: Open Court. Reisch, G. (2007) Pink Floyd And Philosophy: Careful With That Axiom, Eugene! (Popular Culture and Philosophy). Peru, Illinois: Open Court. Wener, L. (2011) Just For One Day: Adventures in Britpop. London: Ebury Press. Wrathall, M. (2009) U2 And Philosophy (Popular Culture and Philosophy) Peru, Illinois: Open Court. Rock & Metal: Inglis, I. (ed) (2006) Performance and Popular Music: History, Place and Time. Aldershot: Ashgate Publishing Limited. Irwin, W. (2012) Black Sabbath and Philosophy: Mastering Reality. Oxford: Wiley-Blackwell. Irwin, W. (2007) Metallica And Philosophy: A Crash Course in Brain Surgery. Oxford: Wiley-Blackwell. Lewis, D. (2009) Led Zeppelin and Philosophy: All Will Be Revealed. Peru, Illinois: Open Court. Walser, R. (1993) Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Middletown: Weslyan University Press. Pop: Fisher, M. (2009) The Resistible Demise of Michael Jackson. London: Zero Books. Gilbert, G-C. (2002) Madonna as Postmodern Myth: How one Star’s Self-Construction Rewrites Sex, Gender, Hollywood and the American Dream. London: McFarland. Lloyd, F. (1993) Deconstructing Madonna (Cultural Studies). London: Batsford. Moy, A. (2007) Kate Bush and the Hounds of Love (Ashgate Popular and Folk Series). London: Ashgate Press. Valenti, J. (2012) Madonna and Me: Women Writers on the Queen of Pop. London: Soft Skull Press. Punk: Hebdige, D. (1988) Subculture: The Meaning of Style (New Accents). Abingdon, Oxon: Routledge. Inglis, I. (ed) (2006) Performance and Popular Music: History, Place and Time. Aldershot: Ashgate Publishing Limited. Inglis, I. (2010) Popular Music and Television in Britain. Aldershot: Ashgate Publishing Limited.


61

Savage, J. (2001) England’s Dreaming. London: Faber & Faber. Journals: ECHO: A Music-Centred Journal UCLA IASPM@Journal Jazz Perspectives Routledge Journal of Popular Music Studies Blackwell Publishing Popular Music and Society Routledge Popular Music CUP Popular Music History Equinox Popular Musicology Online University of Oslo Radical Musicology, Online Journal, Newcastle University Soundscapes: Journal on Media Culture Southern Cultures Websites: Rock’s Back Pages: www.rocksbackpages.co.uk Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


62

DN/MM808 Professional Development

Key Information

Course: BA (Hons) Commercial Modern Music


Module Level: 8

Module Credits: 10

Pre-requisite module or learning: None


Teaching & Learning



Seminars: 1 hour

Self -Directed Learning: 158 Hours

Module Leader / Tutor: Ann-Marie Shields

Module Summary

In Teaching for Quality Learning at University, John Biggs and Catherine Tang note that employer feedback regularly reveals dissatisfaction with graduates’ abilities both to self-assess accurately, and to give and receive effective peer feedback. Yet these adaptive and developmental skills are becoming increasingly crucial for graduates struggling to pursue personally and professionally rewarding life course development. This module gives you the opportunity to develop your self-assessment and peer feedback skills whilst undertaking a significant programme of self-chosen and self-directed professional development. You may choose to focus on professional development relating to your musicianship; your business aspirations; your personal development; or your efforts to develop the skills to undertake a successful Professional Project. The module will take you through the stages of identifying professional development needs; setting yourself effective output and outcome goals; developing an informed plan; putting the plan into action; reviewing progress and adapting plans and actions to improve them; and undertaking a final impact analysis to judge how effective your development has been.


63

Throughout the module, you will be required to submit a number of artefacts to Mahara, our learner centred ePortfolio system where you will be supported in an online personal learning environment. These artefacts include developing your profile page, contributing to online discussions on topics relevant to your programme of development, personal accounts of your own work, and evidence of activities and research you are undertaking. These artefacts will be used as evidence of regular engagement with developmental activities as part of an agreed programme of professional development and will form the basis of formative assessment in the module. You will work closely with peers to offer and receive feedback and support on both your developmental activities and critical writing about these activities and academic research.

Aims

To help students develop their capacity to plan, see through and evaluate effective professional development activity, which we see as a key employability requirement.

To help students develop their capacity to work effectively with their peers. 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 writing skills.


Professional development needs analysis; goal setting (outputs and outcomes); creating an informed development plan.

Evidence based self-assessment; evaluating personal performance. Identification and development of professional attributes. Giving, receiving and using effective peer feedback, in person and on-line. Working in an effective peer learning group / Action Learning Set. Improving writing and self-directed learning and development. Listening skills; influencing; communication and collaboration. Negotiation styles and skills. Understanding core concepts. Motivation; time management; leadership; managing projects, events and

teams. Evaluating developmental activity; impact analysis.


The module is taught week by week in an interactive and participative workshop style. Sessions will consist of a mixture of tutor and student-led input; experiential learning activities; and personal / group reflection. E-learning materials will also be made available on the BIMM Dublin VLE. Students will be expected to read independently.


64

Students will also participate in an independent study group, with a focus on sharing resources; discussing reading; and giving and receiving peer feedback on both professional development activities and writing assignments. Students are encouraged to participate in relevant workshops that will be held throughout the year in the college.


There is a strong emphasis on formative feedback on professional development activities and on developing writing skills throughout this module. Students will be trained to give and receive effective peer feedback face-to-face in study groups and via our learner supported e-portfolio, Mahara. You will use the e-portfolio to provide evidence of tasks, reflection on developmental activities and academic reading and share feedback. Further formative feedback will be provided by course tutors online and during class group workshops and via individual tutorial support.

Learning Outcomes


1. Plan, undertake and evaluate an individual programme of professional development.

2. Give and receive effective peer feedback and evaluate how this has impacted on personal performance.

3. Evidence regular engagement with an agreed programme of professional development

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Patchwork

Text Portfolio

Assessment

3000 word

essay and

Mahara

Portfolio

1 ,2,3 100% Summative W26

.

Assignment Brief

Write a critically reflective evaluation of the programme of professional development undertaken whilst participating in this module. Evidence of persistent evaluation and planning for professional development should be visible, with specific examples of feedback received from and given to peers stated. Academic literature should be utilised and referenced appropriately to help conceptualise and guide your personal development plan.


65

The Patchwork Text Assessment should contain the following sections:

• Introduction: Identify the strength that you have chosen to enhance and the weakness you have chosen to overcome, providing some context and justification for your selection.

• Goal Setting and Raising of Self Awareness: Describe the goal setting process, why it was effective, how you raised your personal awareness, and what personality tests you completed. Evidence of academic reading should be apparent and appropriately referenced throughout. Display artefacts to provide evidence of goal setting activity using e-portfolio on Mahara.

• Plans, Execution of Plans and Evaluation of Results: Outline the plans you made to address your strength and weakness – use peer feedback and academic reading to support ideas and choices. It is recommended that three actions per area of development are detailed. Evaluate results of changes, with reference to academic resources. Display artefacts to provide evidence of developmental activity using e-portfolio on Mahara.

• Giving and Receiving Peer Feedback: A crucial section for meeting LO2, it is necessary to include specific examples of helpful feedback received, evaluating why/how it was effective and its impact on performance. It is also necessary to outline feedback given to peers as part of this process. Specific examples of effective peer feedback given must also be evaluated with regard to impact on personal performance. Engagement in peer feedback, both received and given, will be assessed within Mahara. Students will include an evaluation of this engagement as part of their final assessment, and evaluate research into the effectiveness of peer feedback.

• Evaluation: Review and evaluate the overall process of professional development, with a focus on the effects of becoming more self-aware, effectiveness of developmental activities and the role of peer feedback.

• Conclusion: Discuss the major points and potential future outcomes of the professional development process.

• Bibliography: Provide a comprehensive bibliography in the Harvard format. Standard Harvard in-text citation style should be used throughout all sections of the assessment.


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Assessment Criteria

Outcome Students will be assessed


Assessment

method

1. Plan, undertake and

evaluate an individual

programme of

professional

development.

Show an informed approach to planning

and undertaking their own professional

development.

Substantiate their evaluation of their

professional development with (1) a

discussion of well-chosen evidence and

(2) an appropriate explanatory

framework.

Patchwork Text

Portfolio

Assessment

2. Give and receive

effective peer feedback

and evaluate how this

has impacted on your

own performance.

Discuss specific examples illustrating

engagement with effective peer

feedback.

Evaluate the extent to which engaging

in peer feedback has impacted on

personal performance, in relation to

specific examples.

Patchwork Text

Portfolio

Assessment

3. Evidence regular engagement with an agreed programme of professional development

Clearly document their stages of

learning by submitting artefacts which

are authored/ compiled throughout the

academic year via Mahara,

demonstrating a progressive record of

activities undertaken.

Patchwork Text

Portfolio

Assessment


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Reading List

Core Texts: Dweck, C. (2017) Mindset - Updated Edition: Changing The Way You think To Fulfil Your Potential. Ballantine Books: Random House.

Additional Texts: Motivation and time management: Basco, M. (2010) The Procrastinator’s Guide to Getting Things Done. New York: Guilford Publications Inc. Bird, P. (2010). Improve your time management. London: Hodder & Stoughton. Coombes, F. (2010) Motivate yourself and reach your goals. London: Hodder and Stoughton. Ramirez Basco, M. (2010) The Procrastinator’s Guide to Getting Things Done. The Guilford Press. Leadership:

Luc, E. (2009) Unleashing your leadership potential: seven strategies for success. Plymouth: Rowman & Littlefield. Silsbee, D. (2010) Mindful Coach: seven roles for facilitating leadership development. Chichester: John Wiley. Juli, T. (2011) Leadership principles for project success. Abingdon: Taylor & Francis Routledge. Personal and Creative development: McGee, P. (2010) Self-confidence. Chichester: John Wiley. Richard, D. (2010) Succeed for yourself. London: Kogan Page. Yeung, R. (2009) Emotional intelligence: The new rules. London: Marshall Cavendish. Kenny, D. (2011) The Psychology of Music Performance Anxiety. Oxford University Press. Parncult, R., Mc Pherson, G. (2002) The Science and Psychology of Music Performance. Oxford University Press. Klickstein, G. (2009) The Musician’s Way. A Guide to Practice, Performance and Wellness. Oxford University Press. Byrne, D. (2012) How Music Works. Edinburgh: Canongate Books. Cameron, J. (2016) The Artist's Way. London: Pan Macmillan Communication and collaboration:


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Campbell, M. (2009) Communication skills for project managers. New York: AWACOM Books. Coleman, D. (2009) 42 rules for successful collaboration. Cupertino, CA.: Happy About. Jha, S. (2010) The project manager’s communication toolkit. Boca Raton, FL.: CRC Press.

Managing projects, events and teams: Projects: Padgett, C. (2009) The project success method. Chichester: John Wiley. Schmidt, T. (2009) Strategic project management made simple: practical tools for leaders and teams. Chichester: John Wiley. Barker, S., Cole, R. (2015) Brilliant Project Management. Pearson Research Methods and Study Skills: Moore, S., Neville, C. et al (2010) The Ultimate Study Skills Handbook. Mc Graw Hill. Bell, J. with Waters, S. (2014) Doing Your Research Project – A Guide for first time researchers. (Sixth Edition) Mc Graw Hill. Dawson, C. (2009) Introduction to Research Methods – A Practical Guide for Undertaking a Research Project. (4th Edition) Robinson.

Events:

Allen, J. (2009) Event Planning. Chichester: John Wiley. Conway, D. (2009) The event manager’s bible. Begbroke, Oxon. How to Books. Teams: Camper-Bull, R. (2010) Moving on from project management to project leadership: a practical guide to leading groups. Boca Raton, FL.: CRC Press. Franz, H-W. (2009) Building leadership in project and network management. London: Springer.



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DN/MM803 Commercial Songwriting

Key Information



Module Level: 8

Module Credits: 10


Module type: Mandatory for Songwriters, Optional for others

Teaching & Learning




Module Leader and Tutor: Michael Moloney

Module Summary

This module will further address the musical and technological aspects of writing and producing popular songs, and will include focus on composition for the media and moving image alongside the commercial concerns and production values vital to this discipline. Students will continue to develop technical skills along with creative techniques common to working with sound and image. The module will also develop reflection, analysis and synthesis and encourage students to develop a personal ‘voice’ whilst also demonstrating stylistic versatility and an ability to work across genres.

Aims

To develop professional compositional technique To understand and utilise techniques for composing for new and traditional media To be able to appraise, select and use appropriate technology To be able to work to a strict and precise commercial brief To be able to respond positively to criticism and feedback as a reflective

practitioner


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Advanced music production techniques; from demo to master Working with Media; formats, conventions and techniques Context and working methods in popular songwriting Advanced Composition and arrangement techniques Working with others; building and leading a team Working to a precise commercial brief Reflective practice and self-analysis


This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars & practical workshops/demonstrations (Utilising a DAW resource room), student led seminars, studio work, e-learning through the BIMM Dublin VLE and Independent study & research.


Formative assessment will help to monitor individual student progress using: in-class Q&A; set course work tasks; in-class feedback; and online communication via the BIMM Dublin VLE.

Learning Outcomes


1. Apply theoretical concepts to melody and harmony writing and analyse select and employ a range of compositional devices and song structures

2. Employ knowledge of technology in music production and commercial approaches to packaging and presentation

3. Demonstrate the ability to work to a strict brief and display understanding of industry protocols and technical benchmarks

4. Exemplify the qualities of a reflective practitioner displaying self-awareness and critical analysis in self development


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Assessment

Assignment Brief

1. Negotiated Commercial Project Portfolio (10 mins) - individual work. Students will write, record and produce a musical project; brief to be negotiated with their tutor. This could take the form of either:

Contemporary songs (with vocals) aimed at relevant commercial markets or: Instrumental pieces that are synchronised to a moving image

Details of format and specific content of projects to be negotiated with tutor.

Note: Audio only pieces to be presented as 44.1kHz 16 bit AIFF on a CD. Audio/visual pieces to be presented as Quicktime Movies to be submitted as data files on a single DVD. 2. Written analysis – (1,500 words) - Individual Work This should be a reflective critical analysis of the work produced for this assignment. The essay should include the following elements: Introduction and detailed brief for each composition A brief description of the production process Analysis of the strengths and weaknesses of each element Reflection on what the process has taught you in terms of the task set Conclusion

No Summative Assessment Methods



Formative/

Summative

Assessment Week

1

Negotiated Commercial Project Portfolio

Written Critical analysis of Project

&

Presentation package

10 mins

1,500 words

1,2,3, 4 100% Summative W26


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Presentation Package

A designed package that is intended to 'sell' the project - especially to those that are unaware of what you are capable of. This package should consist of a folder or binder containing both the CD/DVD and the written work. All contents must be securely fastened and checked to make sure that they are in working order.

Assessment Criteria


Assessment method

1. Apply theoretical concepts to melody and harmony writing and analyse select and employ a range of compositional devices and song structures

Apply and link theory to practice Utilise learning to develop compositional technique

Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package

2. Employ knowledge of technology in music production and commercial approaches to packaging and presentation

Make informed production decisions Employ industry standards and protocols Understand and apply commercial standards to presentation

Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package

3. Demonstrate the ability to work to a strict brief and display understanding of industry protocols and technical benchmarks

Produce commercial quality recordings

Recognise and apply industry benchmarks and protocols

Work to a precise commercial brief


& Written Critical analysis of Project

& Presentation package

4. Exemplify the qualities of a reflective practitioner displaying self-awareness and critical analysis in self development

Respond to feedback constructively

Demonstrate self-awareness and critical analysis

Use reflection to develop personally and professionally


& Written Critical analysis of Project

& Presentation package


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Reading List

Core texts: Braheny, J. (2001) The Craft and Business of Songwriting. Cincinnati: Writers Digest.

Collins, M. (2004) Pro Tools for Music Production: Recording, Editing and Mixing. Abingdon, Oxon: Routledge.

Additional texts: Webb, J. (1999) Tunesmith: Inside the Art of Songwriting. New York: Hyperion.

Keane, J. (2007) The Musicians Guide to Pro-Tools. Maidenhead: McGraw-Hill Education.

Huber, D. (2005) Modern recording techniques - 6th ed. Oxford: Focal Press.

Pattison, P. (1996) Writing better lyrics. Cincinnati: Writers Digest. Journals: Sound on Sound: SOS Publications group. Resolution: S2 Publications Ltd. Pro-Sound News Europe: CMP Information Ltd. Audio Media: IMAS Publishing Ltd.



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DN/MM811 Solo Performance

Key Information



Module Level: 8

Module Credits: 10


Module type: Optional

Teaching & Learning




Module Leader: Johnny Boyle Tutors:

Johnny Boyle

Tine Verbeke

Paul Moore

Karl Breen

Module Summary

Many musicians develop advanced technical skills but fail to realise their true potential as live performers. Professional musicians must develop consistency in their performances, versatility in their skills and repertoire knowledge, and deliver high performance standards with limited preparation time. Students will be asked to select, prepare, and perform one or more technically demanding performance piece(s) per performance. The two programmes will be 20 and 15 minutes in duration and students will be encouraged to consider the structure of the performances as a whole, and discuss this with their tutor. Students will be expected to develop effective preparation skills for professional performance and emphasis will be placed upon the development of technical ability together with the study and acquisition of a diverse range of repertoire.


75

Aims

To help musicians become confident and exceptional solo performers To develop a student’s conceptual understanding of and technical fluency in a

variety of different musical styles and genres To prepare students for a career as a professional musician by using efficient

preparation techniques for a variety of situations, and accurate critical self-awareness for on-going improvement


Technical Development: developing fluency, consistency, accuracy, and speed for executing challenging pieces and passages, proper intonation, and vibrato

Repertoire: learning a broad range of material within a genre, playing convincingly in different genres, and becoming aware of the changes in techniques and stylistic traits of a specific genre as it developed over time

Preparation: choosing the proper equipment and spare parts for a given situation, learning songs quickly and accurately, and writing out parts for yourself and others

Musicianship: developing improvisation skills, utilising dynamics, employing genre-specific techniques to make performances more authentic and appropriate, and performing with an accurate sense of time

Performance Skills: selecting the right compositions for a performance, placing the material in an effective and logical order, stage presence, and developing confidence in communicating one’s unique musical voice and artistic vision.


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 demonstration, e-learning through the BIMM Dublin VLE and independent study and research.


Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, coursework, classroom discussion, independent study, and research, and written assignments.

Learning Outcomes


1. Demonstrate stylistic versatility as a performer 2. Use effective preparation and presentation skills for a chosen programme of

performances 3. Demonstrate a high level of technical facility 4. Articulate a thoroughly considered rationale for a chosen programme of

performances


76

Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1 Performance Exam 1

20 mins 1,2,3,4 60% Summative W16-W17

2 Performance Exam 2

15 mins 1,2,3,4 40% Summative W25-W29

Assignment Brief

1. and 2. Solo Performances Exams 1 and 2 (20 & 15 min each) - Individual Work The student will be asked to prepare and perform two programmes of solo material. The repertoire, chosen by the student after consultation with the tutor, should demonstrate a different style, genre, or focus for each of the two performances. Students are required to articulate a clear rationale for their chosen programme by incorporating presentation tools such as PowerPoint and/or program notes into their performance exam. The presentation should reflect on the student’s personal musical development, the inspiration behind their chosen programme, what is to be achieved by their performance and how it will feed into their future goals. The pieces should be technically demanding and prepared to a professional level of readiness. Performance skills such as stage presence, communication with an audience, and appropriate appearance and manner will all be taken into consideration as well as the musicality and technical ability shown. *Note: For students who have chosen both BIMM26 Solo Performance and BIMM27 Ensemble Performance as their Optional modules, the same exact material may not be used in the performance exams across both of these modules. *Students are required to produce contrasting material for each Solo Performance assessment.


77

Assessment Criteria


Assessment method

1. Demonstrate stylistic versatility as a performer

Present two performances in contrasting styles within one genre or in different genres

Performance Exams 1 and 2

2. Use effective preparation and presentation skills for a chosen programme of performances

Consider and adopt appropriate performance and presentation skills, such as posture, musicality, precision in musical execution, confidence, and engagement with an audience


3. Demonstrate a high level of technical facility

Show evidence of advanced technical ability and repertoire


4. Articulate a thoroughly considered rationale for a chosen programme of performances

Consider how the appearance of the presentation should reflect personal musical development, inspiration behind the chosen programme and achievement goals



78

Reading List

Core texts: Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.

Additional texts: Guitar: Goodrick, M. (1987) The Advancing Guitarist: Applying Guitar Concepts & Techniques. Milwaukee: Hal Leonard. Govan, G. (2002) Creative Guitar 1 and 2. London: Sanctuary 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.

McGill, T.S. (2007) The Guitar Arpeggio Compendium. Marlton, NJ: Uniblab Publishing. Sandole, D. (1981) Guitar Lore. Philadelphia: Theodore Presser Company. Sandberg, L. (2007) Acoustic Blues Guitar Styles: Detailed Record Bass: Liebman, J. (2011) Bass Aerobics. Milwaukee: Hal Leonard. Manring, M. (2005) Michael Manring (Bass Technique). Milwaukee: Hal Leonard. Pastorius, J. (2002) Modern Electric Bass. NY: Manhattan Music. Boomer, T., Bufe, C., Berry, M. (2009) Bassist's Bible : How to Play Every Bass Style From Afro-Cuban to Zydeco: See Sharp Press Archard, C. (2015) Building Bass Lines : A Guide to Better Bass Lines for Bassists, Arrangers & Composers: Alfred Music Drums: Keown, A. (2015) Mastering the Rudiments : A Step-by-step Method for Learning and Mastering the 40 P.A.S. Rudiments of Snare Drumming Dean, M. (2014) Drum Kit Secrets: 52 Performance Strategies for the Advanced Drummer Erskine, P. (1987) Drum Concepts and Techniques. Milwaukee: 21st Century Publications. Minnemann, M. (2001) Extreme Interdependence: Drumming Beyond Independence: CA: Alfred Publishing Co. Inc. Vocals: Peckham, A. (2010) The Contemporary Singer. 2nd edn. Boston: Berklee Press. Peckham, A. (2006) Vocal Workouts for The Contemporary Singer. Boston: Berklee Press. Miller, Richard (2011) On the Art of Singing: Oxford : Oxford University Press. 2011 Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


79

DN/MM805 Ensemble Performance

Key Information



Module Level: 8

Module Credits: 10



Teaching & Learning

Lectures: 22 x 2 Hours



Module Leader: Joe Wall Tutors: Joe Wall, Phil Christie

Module Summary

This module is designed to help students develop their skills as musicians, performers and creative professionals at an advanced level, with a particular focus on contributing effectively to ensemble performances that are innovative and technically proficient. The module gives instrumentalists, vocalists, and songwriters an opportunity to use the performance skills, writing, and arranging skills—along with stylistic versatility gained from earlier study in a truly creative environment. While individual work will be an essential element, emphasis will be placed on creative collaboration when preparing and executing performances to a high standard. Developing aesthetic awareness and critical skills in relation to relevant developments in modern musical performance culture will be a central concern of the module. In tandem with this, students will have a unique opportunity to engage with material covered in this module and others, in an active and experimental way when developing original approaches to performance.

In comparison with previous performance based modules, students are granted a greater level of autonomy with regard to music and performance. As the year progresses, students' work should take on a more self-directed approach with a view to delivering a coherent repertoire for the Term 3 performance.


80

Aims

This module aims to help students develop: A high standard of efficacy as a member of a creative ensemble Aesthetic sensitivity in relation to music-making and performance Advanced technical ability, character and individuality as a musician Improvisational skills A greater range of music ability (not limited to their chosen disciplines) Creative and interpretive skills with regard to new and existing work Performance skills - stage presence & craftAn informed approach to critique and

analysis of work Presentational skills with regards to performances Competence regarding technical and practical facets of live performance at a

professional level


Deep listening Free Improvisation Character and identity in performance culture Live soundtracks Orchestration – working with large ensembles Experimental approaches to vocalisation and instrumentation Found sounds and sampling Presentational techniques Performance videos


Classes throughout the year consist of projects and assignments focussing on various approaches to making music and performing. These will entail lectures, presentations on related cultural theory and case studies, followed by workshops where methods are explored and performances are developed. Students will be required to work individually and in ensembles in preparing performances of both original music and existing material.

Each student is required to put together a portfolio of work done in each project (audio recordings, videos and written work). This online Ensemble Performance Portfolio will be the central theme of the Developmental Essay and will be taken into account in the Performance Exams. Further details regarding the portfolio will be announced at the start of Term 1. Students will also be required to read, listen and watch material referred to in class and hosted on Moodle to support their learning.

The module is broadly structured as follows: -

Term 1: students will participate in the projects and classes set out in the scheme of work – these are intended help them prepare for Performance Exam 1 (Week 12).

Terms 2 & 3: as well as continuing with active learning projects, preparation for the Development Essay and for Performance Exam 2 will be prioritized these Terms.


81


Offering and receiving constructive feedback on ideas and performances is one of the most important aspects of this module – tutors and students are required to participate in feedback sessions, maintaining an open-minded and encouraging atmosphere that supports creative learning. Each student’s Ensemble Performance Portfolio will serve as a vital resource for monitoring progress and offering feedback. One-to-one tutorials, available to all students, provide a valuable opportunity to focus on individual cases.

Learning Outcomes


1. Perform to a higher level in a range of musical styles and genres as a member of an ensemble

2. Demonstrate effective preparation and audience communication skills with regard to performances

3. Demonstrate ability to plan and organise, advanced technical facility, high-level leadership and direction in preparing the performance of a range of compositions

4. Critically evaluate artistic development articulately with reference to relevant influential factors

Assessment

No. Summative

Assessment

Method

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Performance

Exam 1

20

mins

1,2,3 30% Summative W12

2 Development

al Essay*

1000

words

3,4 30% Summative W18

3 Performance

Exam 2

20

mins

1,2,3 40% Summative W25-W29


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Assignment Brief

Performance Exams 1 & 2 For each performance exam, students will be asked to prepare a twenty-minute selections of material to perform in an ensemble. Aspects such as band identity and cohesiveness of material with regard to style and the approach to performing should be considered. The relationship between the actual performance and stated themes will also be critiqued. Performances should demonstrate technical proficiency, display creativity in arrangement and part writing, and exhibit a professional level of preparation. Performance skills such as stagecraft and audience engagement will all be taken into consideration as well as the musicality and technical ability displayed. In addition, ensemble skills such as command of arrangement, timing and groove, cohesiveness of sound and sensitive awareness of the other performers will be taken into account. Visual presentation (e.g. clothes, props, projections and stage positioning) should also be addressed to maximize the impact of the performance. Ensemble Performance Exams 1 (20 minutes) Student’s performances in this exam must be based on one of the projects conducted in Term 1, with regard to the approach to performing and the recorded material in their portfolios. They can develop this material further for the exam and expand the set with additional material. For these assessments, students must perform in groups they’ve been assigned to in Term 1. These ensembles may recruit extra members, however they must be part of the Ensemble Performance cohort. Ensemble Performance Exams 2 (20 minutes) Students choose their approach for this performance – the material and thematic aspects etc. Notwithstanding that, the exam rules below must be adhered to. Performances in this exam must be different to Performance Exam 1 in terms of repertoire and stylistic approach. Ensembles must comprise of students from the module. Non-module students can only participate if they are playing an instrument not included in the BIMM streams, however the majority of ensemble members must be from the module.

Performance Exam Rules which apply to both Performance Exams

Each student must workshop performance exam repertoire in class during the

term in which the exam takes place. Students Ensemble Performance Portfolios must contain audio and video recordings of work-in-progress ensemble performances of exam repertoire. The portfolios will be reviewed and taken into account in the performance exams.

In advance of both performance exams, each student must submit a brief rationale that provides an overview of the performance and offers insight into the approach taken, discussing influential cultural examples and explaining the student’s individual contribution to the performance. Students may draw directly on their Developmental Essays when writing this. Individual rationales will be taken into account in the performance exams.


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Each ensemble is required to prepare and deliver a verbal ‘group rationale’ before each performance exam that explains the performance from a group perspective, addressing cultural influences, thematic aspects, choice of the material and the ensemble’s approach to the performance.

Each student is required to submit a Technical Sheet in advance of the performance, evidencing the preparation and professionalism that’s expected and ensuring that performances go according to plan.

Students are required to stay for the duration of their assigned session. Bands with slots in the same session will serve as audiences for each other.

A professional attitude is expected of all participants, turning up on time with

equipment in working order. Note: Details regarding the submissions mentioned above will be announced in advance of the exams. For students who have chosen both BIMM27 Ensemble Performance and BIMM26 Solo Performance as their Optional modules, the same exact material may not be used in the performance exams across both modules.

Developmental Essay (1000 words)

You are required to write an essay in which you review of your Ensemble Performance Portfolio with knowledgeable discussion of associated subject matter and the related exercises and assignments undertaken in the module. There should be informed discussion of relevant cultural examples & theory encountered in the module and it’s reading list. It should be a well-organised, logically structured, and

appropriately cited piece of work. Your progress to date should be discussed and strengths and areas for improvement should be identified with reference to formative feedback received from tutors and peers during classes and feedback received following the Term 1 Performance Exam. Your essay should include an overview of your plans for Performance Exam 2 – the nature of the performance and the motivation and reasoning behind it. There should be reference to influential factors - personal, social, political or cultural. An outline of practical planning is required and an appendix featuring elements that illustrate organisational detail and convey the nature of the performance should be included - elements such as a set list, details regarding line-up and instrumentation, sketches of stage design and layout, band logos, band image or artwork and any logistical considerations. The appendix will not be included in the word count.

* N.B. This is a pass-required assessment

*Please refer to the section “Essay & Written Work” in the General & Assessment Regulations for further guidance on how to present your written work. Submission details will be given to you in advance of the assessment.


84

Assessment Criteria



Assessment

method

1. Perform to a higher

level in a range of

musical styles and

genres as a member of

an ensemble

Perform a set as part of an

ensemble, demonstrating technical

proficiency and aesthetic

understanding of the chosen material

and approach. Specific aspects

include timing, groove, feel,

dynamics, tuning, pitching, command

of instrument and equipment; tone,

appropriateness of parts and sounds;

efficacy of individual role

Performance

Exams 1 and

2

2. Demonstrate effective preparation and audience communication skills with regard to performances

Demonstrate performance and

presentation skills appropriate to an

ensemble performance, e.g. inter-

band communication, audience

engagement, deportment, movement,

gesture, attire and additional visual

elements

Performance

Exams 1 and

2

3. Demonstrate ability to plan and organise, advanced technical facility, high-level leadership and direction in preparing the performance of a range of compositions

Perform a set of musical pieces that

are thematically and stylistically

cohesive, evidencing creative part-

writing and arrangement skills

Compile an online portfolio that

documents your participation and

development in the module

Write an essay that sets forth a viable

plan to execute a well prepared

ensemble performance

Performance

Exams 1 and

2

Development

al Essay

4. Critically evaluate artistic development articulately with reference to relevant influential factors

Write an essay in which you reflect on

your participation & learning in the

module, referring to your portfolio and

relevant cultural and influential

examples discussed in the module.

Provide insights into your plans for

Performance Exam 2, relating your

motivation and discussing associated

themes and influential factors

Development

al Essay


85

Reading List

Core texts Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.

Additional texts Schechner, R. (2002). 'Performance studies : an introduction' London; New York : Routledge,

Oliveros, P., 2005. A Composer's Sound Practice. 1st ed. Lincoln, USA: Deep Listening Publications.

Green, B. (2005) The Mastery of Music: Ten Pathways to True Artistry. London: Pan.

Taruskin, R. (1996) Text and Act: essays on musical performance. Oxford: OUP. Audio Visual: Moon, V. and Telmon, P. (2017). Petites Planètes | Home. [online] Petitesplanetes.earth. Available at: http://petitesplanetes.earth YouTube. 2017. Brian Eno revealed - BBC Click - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=uBgAy8ldhjk. [Accessed 08 September 2017]. Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


86

DN/MM806 Music Business Studies

Key Information



Module Level: 8

Module Credits: 10



Teaching & Learning




Module Leader / Tutor: Michael Roe

Module Summary

This module will give students the knowledge to plan their career paths and communicate with industry practitioners in an informed way. It will provide students with an understanding of the various agreements they might be expected to enter into during the course of a career in music. Musicians will develop an understanding of the structure of the industry and will be able to interpret key terms used in management, recording and publishing contracts. Musicians will be shown the impact that the various agreements can have on their careers, and develop an understanding that will enable them to make informed decisions and communicate with professional advisors in an effective and informed manner.

Aims

To understand the key terms and principles underlying management, recording, publishing and live performance contracts.

To understand artist development and marketing plans To be able to construct a business case study


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Music industry resources Management contracts Recording agreements Publishing contracts Online distribution using iTunes, AWAL and other aggregators Live music agreements Artist development and marketing plans Business case study


Teaching will be via lectures, Q&A, audio and video material, Internet resources, discussions and debates, small group exercises, VLE, and independent study. Teaching material will include examples from real world contemporary legal agreements, important music industry media sources and leading texts on the subject.


Formative assessment includes tutorial, discussion in class, peer and tutor feedback from small group exercises studying real world legal documents, music industry media sources and relevant texts, and Q&A sessions in class

Learning Outcomes


1. Recognise and analyse the structure of the music business, and appraise important contemporary issues in the discipline

2. Interpret and evaluate key terms in music business contracts and agreements 3. Discuss issues and communicate effectively with industry professionals and

advisors 4. Demonstrate a critical understanding of career planning, business planning

and self management issues


88

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Written

Exam 90 mins 1,2,3,4 50% Formative W19

2 Business

Case Study

2500


Assignment Brief

1. Written Exam (90 mins) - Individual Work

A 90-minute written examination to test the candidate’s empirical knowledge and conceptual understanding of the business practices and legal agreements they may encounter in the music industry, and the responsibilities that they accept when signing agreements.

2. Business Case Study (2,500 words) - Individual Work

Present a critical case study analysis of a current music company, commenting on some or all of the following aspects where these are relevant.

These topics are suggested ideas, and you may find that you want to revise them or add other areas for discussion as you see fit:

The business plan of the company The vision and ethos of the business The ownership of the business The history of the company Their sector of operations (manufacturing/services/technology/etc.) The management and staffing structure The production and/or operation procedures The public profile and marketing The company's USP The company’s competitors The artist roster and A&R policy (where relevant) Legal and copyright issues relevant to the company The company’s use of technology and new media How the company is positioned in relation to current developments in the industry The company’s international profile

Comment critically on the relative strengths and/or weaknesses of the company in these and other areas. Use appropriate reading and secondary research, including a fully referenced bibliography.


89

Assessment Criteria



Assessment

method

1. Recognise and

analyse the structure of

the music business, and

appraise important

contemporary issues in

the discipline

Define and discuss the structure of the

contemporary music business

Identify recording, publishing and live

music income streams

Identify and evaluate key issues in the

contemporary music industry

Exam

Business Case

Study

2. Interpret and evaluate

key terms in music

business contracts and

agreements

Define and discuss key terms in

management contracts, recording

agreements, publishing contracts and

other relevant industry agreements

Interpret and evaluate these terms

using real world examples

Exam

Business Case

Study

3. Discuss issues and

communicate effectively

with industry

professionals and

advisors

Demonstrate an understanding of the

key contemporary issues in recording,

publishing, music management and live

music

Identify and evaluate key issues in the

contemporary music industry

Exam

Business Case

Study

4. Demonstrate a critical

understanding of career

planning, business

planning and self

management issues

Construct and comment critically on an

artist development plan

Research, write and submit a business

case study

Comment critically on the strengths

and/or weaknesses of the business

Apply their knowledge of key issues in

the contemporary music industry

Exam

Business Case

Study


90

Reading List

Core text: Harrison, A. (2014) Music: The Business: The Essential Guide to the Law and the Deals. 6th Edn. London: Virgin.

Additional texts:

Gordon, S. (2005) The Future of the Music Business: How to Succeed With the New Digital Technologies. San Francisco: Backbeat Books.

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.

Journals: Music Week London; CMP Record of the Day London: Music Today Ltd Websites: College Music Update: http://www.thecmuwebsite.com/daily/ (Downloadable Podcast)

Music Business Worldwide: https://www.musicbusinessworldwide.com/

BillboardBiz: http://www.billboard.com/biz

HypeBot: http://www.hypebot.com/

Next Big Sound (Music Business Analytics): https://www.nextbigsound.com/

IMRO: https://www.imro.ie/


http://www.thecmuwebsite.com/daily/

https://www.musicbusinessworldwide.com/

http://www.billboard.com/biz

http://www.hypebot.com/

https://www.nextbigsound.com/

https://www.imro.ie/


91

DN/MM807 Music Teaching Practice

Key Information



Module Level: 8

Module Credits: 10

Pre-requisite module or learning: N/A


Teaching & Learning




Module Leader: Danny Snow Tutors: Danny Snow, Ray Boyle

Module Summary

Private, peripatetic, group and classroom teaching is integral to many a professional musician’s business plan, and two or three days teaching a week can provide the financial security needed to pursue other long-term career goals. In addition, many musicians are attracted to teaching as a vocation in its own right and find personal, artistic and creative satisfaction within it. This module helps participants develop the skills for setting up a successful teaching practice. You will learn how to: plan and deliver lessons; assess students and give them feedback; evaluate your own teaching in order to improve it. The module is designed to be highly participative and practical, and it includes a requirement on you to undertake some teaching.

Aims

To explore a variety of teaching and learning strategies To introduce effective lesson planning and assessment procedures To offer opportunities for teaching practice To enable students to plan for employment


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Lesson planning Psychology of music learning Classroom management Lesson observation Group and one-to-one teaching practice Learning styles Differentiation Assessing students and giving feedback


This module will be delivered utilising a variety of methods including: tutor-led lectures and practical group work, lesson observations, role play, student-led workshops, micro-teaching and e-learning via the BIMM Dublin VLE and independent study and research.


Formative assessment will include Q&A, tests, quizzes, group and individual tasks, mock assessments and informal teaching practice sessions during the year. These will provide background material for both the Teaching Project and Practical Assessment.

Learning Outcomes


1. Utilise key pedagogic principles vital to musical learning 2. Create lesson outcomes and learning outcomes and devise a programme of

study 3. Give accurate and developmental feedback and demonstrate how to identify

and assess students’ progress 4. Evaluate the strengths and weaknesses of their own and others’ lessons

Assessment

No Summative

Assess-ment Methods

Length Lear

ning Outcomes Addressed


Formative/

Summative

Assessment Week

1 Teaching Project Portfolio

2500 words

1,2,3,4 50% Summative W28

2 Practical Assessment

30 mins Teaching

1,2,3,4 50% Summative W25-W28


93

Assignment Brief

1. Teaching Project Portfolio (2,500 words) – Individual work

This will consist of a written submission, in which students will: Develop and plan a series of 10 lessons, and produce associated

learning resources. Plans should include: lesson outcomes; learning Outcomes; teaching and learning activities; timing; resources; formative evaluation strategies; student differentiation.

Write a critical evaluation of the effectiveness of these lessons including their own teaching and their application of sound principles of curriculum design.

Discuss strengths of each lesson, and provide a number of well-reasoned and well-supported suggestions for improvement for each.

Include feedback comments from the module tutor on any informal teaching practice undertaken during the year.

2. Practical Assessment- 30 Minute Lesson Observation - Individual Work

The student will be observed and assessed while teaching a formal lesson with students, which may be taken from their teaching project lesson plans or written specifically for the task. These lessons may include teaching a one-to-one lesson or teaching a small group. This will also include providing feedback to your students on their progress.

Assessment Criteria


Assessment method

1. Utilise key pedagogic principles vital to musical learning

Demonstrate key pedagogic principles within their own teaching

Teaching Project Portfolio /Practical Assessment

2. Create lesson outcomes and learning outcomes and devise a programme of study

Develop and deliver appropriate programmes of study, demonstrating consideration of individual learning styles and differentiation


3. Give accurate and developmental feedback and demonstrate how to identify and assess students’ progress

Discuss summative assessment methods Provide constructive formative feedback to students and assess progress


4. Evaluate the strengths and weaknesses of their own and others’ lessons

Write a critical evaluation of the effectiveness of a lesson delivered and provide a number of well-reasoned and well-supported suggestions for improvement



94

Reading List:

Core texts: Green, L. (2001) How Popular Musicians Learn. London: Ashgate. Hallam, S. (1998) Instrumental Teaching. Portsmouth: Heinemann. Additional texts: Davies, S. (2006) The Essential Guide to Teaching. London: Longman. Odam, G. (1995) The Sounding Symbol: Music Education in Action. Cheltenham: Stanley Thornes. Philpott, C. (ed) (2001) Learning to Teach Music in the Secondary School. Abingdon, Oxon: Routledge. Small, C. (1998) Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press. Spruce, G. (1995) Teaching Music: Open University PGCE Course Reader. Abingdon, Oxon: Routledge. Vulliamy, G. (1982) Pop, Rock and Ethnic Music in School (Resources of Music). Cambridge: CUP. Journals: General Music Today Journal of Music Teacher Education Journal of Research in Music Education Music Educators Journal Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


95

DN/MM804 Composition and Analysis

Key Information

Course: BA (Hons) Commercial Modern Music


Module Level: 8

Module Credits: 10



Teaching & Learning


Tutorials: 12 Hour

Personal Development Time: 160 Hours

Module Leader: Adam Taylor

Tutors: Adam Taylor, Derek Cronin

Module Summary

This is an elective module aimed at students with a strong aptitude for music theory that wish to deepen their understanding of advanced theory concepts, and further develop their composition and arrangement skills through song analysis and practical application. This module will consolidate, and develop on, the concepts covered in the BA3 module DN/MM701 ‘Advanced Music Theory and Arrangement’ in a project-based environment, through their application on DAWs and notational software, using sample libraries and industry standard notation.

Aims

To train students to identify, notate and create harmonic, melodic, and rhythmic parts within contemporary music using industry standard notation

To enable the student to analyse and transcribe 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 instruct students in the fundamentals of arranging and orchestration


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Indicative syllabus covered in the module and / or in its discrete elements

Analysis of harmony, melody, rhythm, timbre and structure in popular music Advanced reharmonisation techniques Tonal, mixed modal, polytonal and atonal compositional techniques Using DAWs and notational software as compositional tools Creating mockups using sample libraries and DAWs Application of notational conforms, articulations, dynamics and other aspects of

notation necessary to articulate performance instructions to musicians


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 demonstration, e-learning through the BIMM VLE and independent study and research.

Formative & Summative Assessment

Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, course work, and independent study, research, portfolio and written assignments. Formative assessment will also enable students to highlight areas for improvement before formative and summative assessment in weeks 12, 20 and 27.

Learning Outcomes


1. Analyse compositional and arrangement techniques of a chosen composer or artist with specific reference and detailed analysis of one work

2. Contextualise theoretical aspects of contemporary composition in the creation of original work, with accompanying accurate transcriptions and mock-ups using virtual sound libraries and DAW software

3. Critically analyse and reflect on advanced compositional, harmonic, melodic and rhythmic aspects of commercial modern music, exploring the relationship between theory and personal musical development

Assessment


97

No Summative

Assess-

ment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assess-

ment

Week

1

Original

Composition 1

3 min Original

Composition

and 500 word

analysis

2,3 20% Formative W12

2 Song Analysis

and Arranging

Project

Rearrangement

of a given song

and 1200

analysis


3 Original

Composition 2

and Viva

Voce

5 min Original

Composition

and Viva Voce

(10mins)


W27-29

Assignment Brief

1. Original Composition and Essay (500 words) - Individual Work

You will be asked to submit a score, in PDF format, of an original composition, along with an mp3/audio file extracted from DAW software. The piece should be approximately 3 minutes in duration.

Writing for Rock/Pop instruments is a compositional requirement, and students must incorporate either a string section or a brass section arrangement.

In Addition, you will be required to submit a 500 word essay, describing the musical concepts employed in the piece, and outlining a plan for further musical development of the piece.

2. Song Analysis and Arranging Project (Score and1200 words analysis)– Individual Work

You will be asked to write a full transcription for a prescribed song, submitted as in PDF format.

Students will pick a song to work with from a short, prescribed list of songs in varying styles.

To accompany the full transcription, you will be required to submit a 1200 word essay. This essay must include a theoretical analysis of the song, as well as a detailed conceptual vision for a new arrangement of the song.

Students must submit an MP3/audio file of their new arrangement. This must be exported from the relevant DAW software.


98

3. Original Composition 2 (5 mins) and Viva Voce- Individual Work

You will be asked to submit a complete original composition of approximately 4-5 minutes in duration. The submission will consist of a full and detailed score, in pdf, accompanied by a supporting mp3/audio file.

This composition should demonstrate a deep understanding of advanced compositional techniques and musical concepts.

In addition, you will give a 10-minute viva voce presentation on their piece, focusing on conceptual approach, methodology, critical analysis of the relationship between theory and practice, and reflection on the developmental process.

*Note: All score pdfs should be exported from musical notation software e.g Sibelius


99

Assessment Criteria



Assessment

method

1. Analyse

compositional and

arrangement techniques

of a chosen composer or

artist with specific

reference and detailed

analysis of one work

Recognise theoretical concepts from

written and aural excerpts

Accurately notate melodic, harmonic,

rhythmic and technical aspects of an

arrangement

Analyse notated excerpts and label

theoretical techniques using industry

standard terminology

Musical Score

&

Essay/Analysis

Compositional

Analysis

Viva Voce

2. Contextualise

theoretical aspects of

contemporary

composition in the

creation of original work,

with accompanying

accurate transcriptions

and mock-ups using

virtual sound libraries

and DAW software

Apply advanced techniques to

arranging music for different

instrumentation

Create appropriate and musically

pleasing arrangements of musical

works from given examples

Musical Score

&

Essay/Analysis

Original

Composition &

Viva Voce

3. Critically analyse and

reflect on advanced

compositional, harmonic,

melodic and rhythmic

aspects of commercial

modern music, exploring

the relationship between

theory and personal

musical development

Apply advanced techniques to

arranging and composing music for

different instrumentation

Compositional

analysis

Musical Score

&

Essay/Analysis

Original

Composition

and Viva Voce


100

Reading List

Felts, Randy (2002). Reharmonisation Techniques. Boston: Berklee Press. Kostka, Stefan (1998) Materials and Techniques of Twentieth Century Music. 3rd edn. New Jersey: Prentice Hall. Pease, Ted (2003) Jazz Composition: Theory and Practice. Boston: Berklee Press. Pease, Ted (2001) Modern Jazz Voicing: Arranging for Small and Medium Ensembles. Boston: Berklee Press.

Pejrolo, Andrea. (2007) Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra. London: Focal Press. Piston, Walter (1987) Harmony. 5th edn. London: W. W. Norton & Co.

Sussman, Richard and Abene, Michael (2012) Jazz Composition and Arranging in the Digital Age. London & NY: Oxford University Press.



101

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.


102

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.


103

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


104

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


105

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.


106

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.


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


107

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.


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


108

Core Structure Diagram – Songwriting Stream

Year One Students take six modules. All modules are year-long and are mandatory.


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.


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.


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


109

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.


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

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


110

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

course handbook 2018-2019 ba (hons) in commercial modern ...€¦ · enjoy your remaining time here...

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