course handbook 2018-2019 ba (hons) in commercial modern ... · please pay particular attention to...

BA in Commercial Modern Music Year 1 Course Handbook © BIMM 2018

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Course Handbook 2018-2019

BA (Hons) in Commercial Modern Music

Year 1


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Content

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

• Welcome ....................................................................................................................... 6

• Year 1 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 .................................................................................................... 12 Assessment Feedback Process .......................................................................................................... 12 Extensions ......................................................................................................................................... 12 Personal Circumstances .................................................................................................................... 13 Disability ............................................................................................................................................ 15 Procedure for requesting special assessment arrangements ........................................................... 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/MM607 Styles 1 ............................................................................................................ 32


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Module Summary .............................................................................................................................. 32 Aims ................................................................................................................................................... 33 Indicative Study Topics ...................................................................................................................... 33 Teaching & Learning Methods .......................................................................................................... 33 Formative Assessment ...................................................................................................................... 33 Learning Outcomes ........................................................................................................................... 33 Assessment ........................................................................................................................................ 34 Assignment Brief ............................................................................................................................... 34 Assessment Criteria ........................................................................................................................... 35 Reading List ....................................................................................................................................... 36

DN/MM609 Techniques 1 ................................................................................................... 38 Module Summary .............................................................................................................................. 38 Aims ................................................................................................................................................... 39 Indicative Study Topics ...................................................................................................................... 39 Teaching & Learning Methods .......................................................................................................... 39 Formative Assessment ...................................................................................................................... 39 Learning Outcomes ........................................................................................................................... 39 Assessment ........................................................................................................................................ 40 Assignment Brief ............................................................................................................................... 40 Assessment Criteria ........................................................................................................................... 41 Reading List ....................................................................................................................................... 41

DN/MM603 Music Business and Study Skills ........................................................................ 44 Module Summary .............................................................................................................................. 44 Aims ................................................................................................................................................... 45 Indicative Study Topics ...................................................................................................................... 45 Teaching & Learning Methods .......................................................................................................... 45 Formative Assessment ...................................................................................................................... 45 Learning Outcomes ........................................................................................................................... 45 Assessment ........................................................................................................................................ 46 Assignment Brief ............................................................................................................................... 46 Assessment Criteria ........................................................................................................................... 48 Reading List ....................................................................................................................................... 49

DN/MM601 Artist Development and Entrepreneurship ........................................................ 50 Module Summary .............................................................................................................................. 50 Aims ................................................................................................................................................... 51 Indicative Study Topics ...................................................................................................................... 51 Teaching & Learning Methods .......................................................................................................... 51 Formative Assessment ...................................................................................................................... 52 Learning Outcomes ........................................................................................................................... 52 Assessment ........................................................................................................................................ 52 Assignment Brief ............................................................................................................................... 52 Reading List ....................................................................................................................................... 57

DN/MM605 Pre-Production & Live Performance Workshop 1 .............................................. 58 Module Summary .............................................................................................................................. 59 Aims ................................................................................................................................................... 59 Indicative Study Topics ...................................................................................................................... 60 Teaching & Learning Methods .......................................................................................................... 60 Formative Assessment ...................................................................................................................... 60 Learning Outcomes ........................................................................................................................... 60 Assessment ........................................................................................................................................ 61 Assignment Brief ............................................................................................................................... 61


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Assessment Criteria ........................................................................................................................... 62 Reading List ....................................................................................................................................... 63

DN/MM604 Music Theory and Keyboard Skills .................................................................... 64 Module Summary .............................................................................................................................. 64 Aims ................................................................................................................................................... 65 Indicative Study Topics ...................................................................................................................... 65 Teaching & Learning Methods .......................................................................................................... 65 Formative & Summative Assessment................................................................................................ 65 Learning Outcomes ........................................................................................................................... 66 Assessment ........................................................................................................................................ 66 Assignment Brief ............................................................................................................................... 66 Assessment Criteria ........................................................................................................................... 67 Reading List ....................................................................................................................................... 67

DN/MM606 Song-writing Techniques 1 ............................................................................... 68 Module Summary .............................................................................................................................. 68 Aims ................................................................................................................................................... 69 Indicative Study Topics ...................................................................................................................... 69 Teaching & Learning Methods .......................................................................................................... 69 Formative Assessment ...................................................................................................................... 69 Learning Outcomes ........................................................................................................................... 70 Assessment ........................................................................................................................................ 70 Assignment Brief ............................................................................................................................... 70 Assessment Criteria ........................................................................................................................... 72 Reading List ....................................................................................................................................... 72

DN/MM608 Styles Analysis ................................................................................................. 73 Module Summary .............................................................................................................................. 73 Aims ................................................................................................................................................... 74 Indicative Study Topics ...................................................................................................................... 74 Teaching & Learning Methods .......................................................................................................... 74 Formative Assessment ...................................................................................................................... 74 Learning Outcomes ........................................................................................................................... 74 Assessment ........................................................................................................................................ 75 Assignment Brief ............................................................................................................................... 75 Assessment Criteria ........................................................................................................................... 76 Reading List ....................................................................................................................................... 76

DN/MM602 Live Arrangement Workshop ............................................................................ 78 Module Summary .............................................................................................................................. 78 Aims ................................................................................................................................................... 79 Indicative Study Topics ...................................................................................................................... 79 Formative Assessment ...................................................................................................................... 80 Learning Outcomes ........................................................................................................................... 80 Assessment ........................................................................................................................................ 80 Assessment Criteria ........................................................................................................................... 81 Reading List ....................................................................................................................................... 82

• Overview ..................................................................................................................... 83

Educational Aims ............................................................................................................................... 84 BA Year 1 & 2 Level 6 Course Learning Outcomes ............................................................................ 85 BA Yr. 3 Level 7 Course Learning Outcomes ..................................................................................... 86 BA Yr. 4 Level 8 Course Learning Outcomes ..................................................................................... 87

• Core Structure Diagram – Instrumental Stream ............................................................ 88


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• Core Structure Diagram – Songwriting Stream .............................................................. 90

• Major Themes .............................................................................................................. 92


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Welcome

Dear BIMM Musician,

Welcome to the BA (Hons) in Commercial Modern Music at BIMM Institute Dublin! The path which led you here was extremely competitive, so you should be proud that you met the standard required for entry onto the course. However, now the real work must begin, and we are here to guide you through your time at the college and to help you achieve your ultimate goal of successfully completing your degree and having a sustained career in the music industry.

We are committed to having the best music college in Ireland, providing an inspiring environment where all musicians are treated as individuals, can learn and develop their career paths, and where the very best musicians and industry professionals are keen to make a contribution.

Please read through this manual and understand that everything contained within it is there so that you can get the most from your time at BIMM Institute Dublin. It is important that you integrate with all the other students and make the most of our gigs and events. There are guitarists, bass players, vocalists, drummers, songwriters and producers, and each one of them is in the same position as you. We want you to develop together, so if you are a songwriter, please integrate with the bands as some may need your song-writing input and vice versa. We have worked hard to provide you with knowledge and experience of the entire music industry within the college, its courses and the other enrichments which form the student experience. I encourage you strongly to interact with students from all disciplines whilst you are here so that you can forge mutually beneficial connections which will be useful for many years to come. If you participate fully you will achieve great results and will have built a strong foundation and connection base upon which to build your future career as a music industry professional.

We wish you the very best for a fulfilling, creative and productive time with us in the year ahead. Good luck, this is a very exciting opportunity and don’t forget we’re here to help with any problems you may encounter.

Dara Kilkenny

Executive Principal


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A warm welcome to BIMM Dublin!

This course will provide you with the opportunity to develop your instrumental or song-writing techniques, hone your live performance ability and focus on your development as a professional musician, artist or producer. It is important to remember that whilst we are committed to providing the highest levels of vocational teaching, career guidance and academic rigour, it is up to you to be proactive and ensure you work hard to get as much out of your time at BIMM as possible. The more focused your goals and committed you are in the early stages of the course, the easier it will be for us to help you. The potential rewards are great for those musicians who accept responsibility, work hard and make full use of the resources here at BIMM.

You have chosen to enter a very competitive industry. It’s not going to be easy, and there may be days when the challenges facing you seem insurmountable. The ability to work through the tough times can determine those who succeed from those who don’t. We aim to help you achieve your specific personal and career aims and overcome any difficulties or issues you may encounter along the way. We understand how hard it is to break into the music industry and how frustrating it can be at times. Whilst there are no easy answers or quick shortcuts, this course will give you the knowledge and direction to plan your own career in an effective way.

In summary, this handbook contains information on all the six modules you’ll be studying this year, with information on:

Who teaches the modules

How and when you’ll be assessed for each module

What criteria you are being assessed on

How you are graded

What happens if you miss an exam for whatever reason, or are late in submitting work

Please pay particular attention to this course handbook and use it to aid your development with guidance from the Heads of Department, BIMM Staff and key Tutors.

Good luck, and don’t forget we’re here to help.

Mark Greaney

Head of Education


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Year 1 BA (Hons) Assessment Calendar You have a varied assessment programme, including on-going course work, exams and presentations, 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 for the weeks in greyed-out boxes below:

Wk. W/C

DN/MM607 DN/MM609 DN/MM603 DN/MM601 DN/MM605 DN/MM604 DN/MM606 DN/MM608 DN/MM602

Styles 1 Techniques 1

Music Business & Study skills

Artist Development & Entrepreneurship

Pre-Production & LPW

Music Theory & Keyboard Skills

S/W Tech1 Styles Analysis

Live Arrangement Workshop

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 Mock Ens. Perf

Review Week

29/10/2018

7 05/11/2018 CV Submission

8 12/11/2018 L&L Gig

9 19/11/2018

10 26/11/2018 Citation Task EOT Gig Auditions Ensemble

Performance 1

11 03/12/2018 Keyboard

Skills & Viva

12 10/12/2018 Learning Journal

Submission EOT Gig Multi-track

Rec.

Term 2

13 07/01/2019

14 14/01/2019

15 21/01/2019 Study Skills Research Essay

Ensemble Perf

1

16 28/01/2019

17 04/02/2019 Artist

Development Plan

L&L Gig

18 11/02/2019 Solo

Performance Exam 1

Technical Exercises,

S/Rg & Viva Comp.

Portfolio 1 Presentation

19 18/02/2019 Solo

Performance Exam 1

Technical Exercises, S/R & Viva

Presentation

20 25/02/2019 EOT Gig Auditions

Ensemble Performance

2

21 04/03/2019 Keyboard

Skills & Viva

22 11/03/2019 EOT Gig Keyboard

Skills & Viva

Review Week

18/03/2019

Term 3

23 25/03/2019

24 01/04/2019

25 08/04/2019 Ensemble

Performance 2

Easter 15/04/2019

26 29/04/2019 Solo

Performance Exam 2

Technical Exs, S/R &

Viva 2

Business Essay

Artist Development Presentation

Comp

Portfolio 2 Presentation L&L Gig

27 06/05/2019 Solo

Performance Exam 2


Viva 2


Ensemble Performance 3

Presentation

28 13/05/2019 Solo

Performance Exam 2


Viva 2


Written and Aural Exam

Presentation

29 20/05/2019 Solo

Performance Exam 2


Viva 2


EOT Gig Presentation


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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.

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




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• If a student is referred in a module (i.e. has not passed it) the examination board will look at the components of the module and determine what a student is required to do in terms of re-examination. The options normally available are:

1. Repeat written/practical examination. 2. Redo assessments/assignments/essays/projects 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.


• 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.




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• Bibliography: All written work should include a Bibliography and be referenced using the Harvard Referencing System – see below

• Submission Form: A submission form for non-electronic submissions should be attached to your assignment.

• Transcription/notation submissions: Please refer to the task brief issued to you by your tutor for specific requirements relating to transcription/notation submissions.

• Word count: Word counts must be stated at the beginning of all written submissions. There is a 10% margin on word counts (plus or minus 10%) and written work falling above or below this 10% margin will be penalised by 10%. For example, a grade of 70% will be reduced to 60% if the word count is more than 10% over or under the required amount.

• Original Material: It is the student’s responsibility to keep copies of all their work, either in digital, print or photocopied form, including CDs and recorded submission. Important: Work will not be accepted if not submitted in the above format.

Plagiarism

All written work (dissertations and essays) must be appropriately referenced. Students who plagiarise will get zero marks and may face disciplinary measures. For further information on this topic please see visit Policy on Plagiarism, Collusion and Misconduct and DIT General Assessment Regulations: http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/

Referencing – The Harvard Reference System (HRS)

When you submit written work, you are confirming that the work that you have submitted is your own and that you have referenced any external sources using the following academic conventions:

All written work that uses material from other sources needs to acknowledge the author and location of the quoted work. The Harvard (author-date) system is one way of laying out this information in a standardised form. BIMM requires that you use this method of referencing for all your essays and written submissions.

Please see your “Student Resources” section on Moodle for the BIMM Harvard Referencing Guide. A hard copy of this guide is also available in the student common room.




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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.

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.)


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*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.

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 consider 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.


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In cases where a student has a temporary disability, i.e. because 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.

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 contact 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


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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 an 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.


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The Appeals Board(s) shall meet on the scheduled dates, which shall be published annually and shall hear the appeals presented to it for that occasion and make determination thereon. All necessary information shall be processed through the Quality Assurance and Academic Programme Records Office and presented in writing to the Board for each hearing.

The Appeals Procedure

An appeal must be lodged with the relevant College Administrator on the Appeals Form (Form A/A 1) within seven working days of the date scheduled for the viewing of the examination script. The application must be accompanied by the appropriate fee which shall be refunded if the appeal is successful.

Appeals lodged shall be referred promptly to the College Director, who shall be responsible for initiating the preparation of a written report from the relevant Head of School. The form together with the written report and other documentation to accompany the appeal shall be referred to the Quality Assurance and Academic Programme Records Office within 10 working days, who shall have responsibility for presenting them to the Appeals Eligibility Sub-Group;

An Appeals Eligibility Sub-Group comprising:

Chairperson;

Vice Chairperson and;

the Director of Academic Affairs and Registrar

shall convene to determine whether there are valid grounds for an appeal under the Regulations and shall bring a recommendation in relation to the eligibility/ineligibility of the application to an Appeals Board.

In the event that an appeal has not been heard prior to the commencement of the academic stage the appellant shall be entitled to apply for temporary attendance on the following year of the programme pending the outcome of the appeals process. If the appeal is not upheld the temporary registration shall terminate.

The parties to an appeal are the Institute and the candidate. However, the Appeals Board shall consider all evidence (oral and written) relevant to the appeals listed for hearing and may, at its discretion, consult other parties where this is considered appropriate.

The Head of School, or nominee, shall present the written report to the Appeals Board and respond to matters raised by the Board.


25

The appellant shall be invited to present the case in person to the Appeals Board and shall indicate on the form [see 14.4.2] if she/he wishes to appear and/or be represented by a third party e.g. DITSU.

The decisions of the Appeals Board meeting in private session shall normally be formulated by consensus. Where the Board is divided, the outcome shall be decided by a majority decision. In the event of an equality of votes the Chairperson of the Board shall exercise a casting vote.

No change shall be made retrospectively in assessment regulations for the 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.

On 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]


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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.


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Module Information

DN/MM607 Styles 1

Key Information

Course: BA (Hons) in Commercial Modern Music

Module Code: DN/MM607

Module Level: 6

Module Credits: 10

Pre-requisite module or learning: None

Module type: Core

Teaching & Learning

Lectures: 23 x 1.5 Hours

Tutorials: 2 x 1 Hour

Self-Directed Learning: 163 Hours

Module Leader & Tutors Module Leader: Robbie Malone Tutors:

Steve Hogan

Lorna McLaughlin

Simon McBride

Robbie Malone

Module Summary

In this module musicians will take part in genre-based performance workshops designed to increase knowledge of the sounds and development of the skills associated with different styles of music. This expertise is invaluable for anyone wishing to become a working touring or studio musician. Topics include principal exponents, historical context, instrumentation, harmony, improvisation, aural perception, song structure, and associated techniques as used by the world’s most influential artists.


33

Aims

To enable students to become effective live and studio performers To equip students with knowledge of a broad range of popular musical styles and

related techniques To acquaint students with knowledge of professional protocols with respect to

professional musicianship

Indicative Study Topics

Early performance styles, including Blues and Gospel Performance styles of the 1950s and 60s: Styles covered include electric Blues,

Rock & Roll, Soul and R&B Performance styles of the Seventies to the present day: Classic Rock, Metal genres,

Reggae, Funk, Jazz, Dance, mainstream Rock, and Indie. Creative part writing: composition and performance of effective deadline-driven

instrumental parts Stylistic technical development: extending the range of technical development with

respect to the effective performance of different musical styles

Teaching & Learning Methods

This module will be delivered utilising a range of methods including practical workshops and demonstrations, small group work, tutor led discussion, student led discussion and audio-visual resources.

Formative Assessment

Formative assessment will help to monitor individual student progress and will include playing in class time, Q&A and individual tutorials, which will be available to all students. During each lesson aural and performance skills will be continually assessed by peers and by the tutor, as will technical, analytical and stylistic insights.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Recognise the stylistic elements in various styles of music 2. Apply stylistic conventions to original part writing 3. Demonstrate stylistically appropriate solo instrumental or vocal skills


34

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Solo

Performance

Exam (1

track)

10 mins 1,2,3 30% Formative W18-W19

2

Solo

Performance

Exam (3

tracks)

10 mins 1,2,3 70% Summative W26-W29

Assignment Brief

1. Solo Performance Exam – Individual work The first solo performance exam will take the form of a 10-minute practical styles assessment, during which students will be required to demonstrate their ability to perform a track in an appropriate style.

Students will be supplied with a choice of two backing tracks associated with contrasting genres, a related chart, and a full briefing on what will be required for an effective arrangement and performance.

They will be expected to choose one track, and to create, rehearse and perform a stylistically suitable solo part.

Examiners will be looking for apposite stylistic interpretation and necessary arrangement and performance skills.


35

2. Solo Performance Exam – Individual work The solo performance exam will take the form of a 10-minute practical styles assessment, during which students will be required to demonstrate their ability to perform 3-tracks in contrasting styles.

You are required to select three of these styles to demonstrate your ability to improvise in a stylistically appropriate manner over a backing track. You will not hear the tracks prior to the exam, however, you will be provided with corresponding chord/lyric charts prior to the assessment, which will be uploaded to Moodle.

Let the track cycle for 4 bars before you join in, so you can respond to this musical stimulus accordingly.

It is important to remember that originality and personality will always impress, within the parameters of a stylistic appropriate performance.

Examiners will be looking for apposite stylistic interpretation and necessary arrangement and performance skills, along with stylistically suitable solo parts.

Assessment Criteria

Learning outcome Students will be assessed

on their ability to:

Assessment

method

1. Recognise the stylistic

elements in various styles

of music

Select and rehearse appropriate material

for a solo performance

Solo

Performance

Exams

2. Apply stylistic

conventions to original

part writing

Adhere to musical characteristics and

conventions of different musical styles

Compose and perform stylistically

appropriate parts on instrument or voice

in a solo performance

Solo

Performance

Exams

3. Demonstrate

stylistically appropriate

solo instrumental or vocal

skills

Show considered and controlled musical

skills in performing a variety of pieces

Solo

Performance

Exams


36

Reading List

Core texts:

Please see online resources provided by your tutor.

Additional texts:

Ameen, R and Goines, L. (1990) Funkifying the Clave: Afro-Cuban Grooves for Bass and Drums. New York: Alfred Publishing Co.

Bacon, T. & Morgan, G. (2006) Paul McCartney: Bassmaster: Playing the Great "Beatles" Basslines. San Francisco: Backbeat Books.

Chester, G. (2006)The New Breed. Milwaukee: Hal Leonard.

Clayton, S. (2004) Giants of Bass. London: Sanctuary Publishing.

Clayton, S. (2006) Bass Styles: The Ultimate Guide to Playing Bass in any Genre-Music. London: Sanctuary Publishing.

Coryat, K. (2005) Guerrilla Home Recording: How To Get A Great Sound From Any Studio. Milwaukee: Hal Leonard.

Des Pres, J. (2001) 70s Funk and Disco Bass: 101 Groovin' Bass Patterns. Milwaukee: Hal Leonard.

Friedland, E. (1998) Reggae Bass. Milwaukee: Hal Leonard.

Friedland, E. (2006) Blues Bass: A Guide to the Essential Styles and Techniques. Milwaukee: Hal Leonard.

Govan, G. (2002) Creative Guitar 1 and 2. London: Sanctuary.

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

Hodgson, L. (1997) Hot Country: Comprehensive Guide to Lead and Rhythm Country Guitar Playing. London: Sanctuary.

Lebon, R. (2006) The Versatile Vocalist. Lanham: Scarecrow.

Licks, D. (1989) Standing in the Shadows of Motown: The Life and Music of legendary Bassist James Jamerson. Milwaukee: Hal Leonard.

Madsen, P. (2007) Funk Guitar and Bass: Know the Players, Play the Music. San Francisco: Backbeat Books.

Matheos, C. (2009) The Ultimate Heavy Metal Bass Book. Fenton, MO: Mel Bay Publications.

Mulhern, T. (ed.) (1998) Bass Heroes: Styles, Stories and Secrets of 30 Great Bass Players. London: Backbeat UK.

Peckham, A. (2000) The Contemporary Singer. Boston: Berklee.

Richardson, C. ( 2007) The Professional Studio Vocalist, Boston: Thomson Course Technology.

Slutsky, A. & Silverman, C. (1997) Funkmasters: The Great James Brown Rhythm Sections, 1960-73: For Guitar, Bass and Drums. Warner Bros. Publications Inc.


37

Theriot, S. (2000) New Orleans Funk Guitar: The Guitar Styles Of New Orleans Funk, Cajun, And Zydeco Greats. New York: Alfred Publishing Co.

Weckl, D. (1994) Contemporary Drummer + One. New York: Alfred Publishing Co.

Westwood, P. (2000) Bass Bible: A World History of Styles and Techniques. Brühl: Ama Verlag.

Zoro & Glass, D. (2008) The Commandments of Early Rhythm and Blues Drumming. New York: Alfred Publishing Co.

Websites:

www.youtube.com

www.drummerworld.com

www.snarescience.com

www.drumchannel.com

www.vater.com/education

www.mr335.tv

www.thesingingspot.com

www.vocalist.org.uk

http://www.singwithpower.com

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

http://www.youtube.com/

http://www.drummerworld.com/

http://www.snarescience.com/

http://www.drumchannel.com/

http://www.vater.com/education

http://www.mr335.tv/

http://www.thesingingspot.com/

http://www.vocalist.org.uk/

http://www.singwithpower.com/


38

DN/MM609 Techniques 1

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader & Tutors Module Leader: Ray Boyle Tutors:

Ray Boyle

Paul Moore

Paul Kenny

Module Summary

Closely linked to Styles 1, this module is designed to develop the student’s ability by honing technique and therefore facilitating enhancement of the student’s musical vocabulary. As technique develops, students will be able to execute more ideas within their chosen discipline and with greater dynamic control and accuracy.

The study path encompasses various different concepts, techniques and applications, in preparation for the many different playing situations that may be encountered.

A disciplined approach to regular practice is the key to success here, so the structuring of a focused and workable practice routine will be essential.

The module has been further developed to include sight-reading, which will help you develop your ability to interpret industry standard notation in a wide range of musical settings.


39

Aims

To develop and improve discipline-specific technical skills To plan, execute and monitor a logical practice routine and demonstrate

understanding of the practice requirements of the instrument or voice To demonstrate technical competence in applied settings To gain and develop sight-reading skills


Developing personal expertise/technical competence on instrument/voice Tone generation and sound study (how to achieve a range of sounds) Practice planning and time management Knowledge of professional practice and definitions of technical competence Referencing against professional technical standards and quantifying individual

technical progression Developing sight-reading skills to use in a wide range of musical situations


The module will be delivered utilising a variety of teaching methods. The majority of module delivery will occur within instrumental group sessions involving tutor led demonstration and academic analysis, discussion and demonstration of different techniques, practical application and relevance, together with group work and individual practical performance of techniques under consideration.


Formative assessment will help monitor individual student progress, both in class using Q&A, practical tests on technical concepts, application of technique, regular checking of progress on practice schedules in addition to independent study and research. Mock assessments will be used to check student learning alongside the provision of regular feedback on student progress. Formative assessment will also include playing in class time, tutor led demonstration and individual tutorials, which will be available to all students. Weekly exercises will also be set by tutors and information will be uploaded to your VLE.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Plan and execute a practice routine to facilitate competent vocal or instrumental

technique 2. Demonstrate competent technical skill and an awareness of established musical

conventions


40

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Reflective

Journal 1

500

words 1 10% Formative W12

2

Technical

Exercises

with sight-

reading and

Viva Voce.

15 mins 1,2 30% Summative W18-19

3

Technical

Exercises

with sight-

reading and

Viva Voce.

15 mins 1,2 60% Summative W26-29

Assignment Brief

1. Learning Journal

You will submit a journal detailing your practice routine, technical development, areas of difficulty and techniques employed to overcome challenges within the first term.

2. Technical Exercises with Sight-reading and Viva

You will be tested on your technical knowledge and facility, with regard to pitch, tuning/intonation, vibrato, tone, time keeping, control, rudiments, feel, dynamics, fluency, phrasing etc., as appropriate to your discipline.

You will be asked questions relating to your preparation and rehearsal for the assessment.

You will be tested on your ability to interpret industry standard notation.

Precise specifications will be made available from your tutor prior to your assessment.

3. Technical Exercises with Sight-reading and Viva

You will be tested on your technical knowledge and facility with regard to pitch, tuning/intonation, vibrato, tone, time keeping, control, rudiments, feel, dynamics,

fluency, phrasing etc., as appropriate to your discipline.

You will be tested on your ability to interpret industry standard notation.

Precise specifications will be made available from your tutor prior to your assessment.


41

Assessment Criteria

Reading List

Core Texts: BIMM Dublin 2017 - 2018: BIMM Techniques Manual (Vocals; Guitar; Bass; Drums).

Additional Texts: Drums:

Berry, M. & Gianni, J. (2004) The Drummer’s Bible. Tucson: See Sharp Press.

Igoe, T. ( 2006) Groove Essentials. New York: Hudson.

Latham, R. (2007) On the Beaten Path. New York: Alfred Publishing.

Malabe, F. and Weiner, B.(1990) Afro-Cuban Rhythms for Drumset. New York: Manhattan Music Publishing.

Wilcoxon, C. (1945) The All-American drummer-150 Rudimental Solos. Florida: Ludwig Masters Publishing.

Vocals: Thompson, J. (2004) Find Your Voice. Chamaliers: Artemis Editions.

DeVore, K. & Cookman,S. (2009)The Voice Book: Caring For, Protecting and Improving Your Voice. Chicago: Chicago Review Press.

McCallion, M. (1998) The Voice Book. New York: Routledge.

Outcome Students will be assessed


Assessment

method

1. Plan and execute a

practice routine to

facilitate competent

vocal or instrumental

technique

Demonstrate understanding of the

practice requirements of their

instrument/voice.

Technical

Exercises

(and Viva)

2. Demonstrate

competent technical skill

and an awareness of

established musical

conventions

Exhibit appropriate technical

competence to perform set musical

exercises

Exhibit considered and controlled

instrumental or vocal technique

Technical

Exercises

(and Viva)


42

Grant, C. & Grant, D. (2006) Total Singing Tutor: The Complete Guide to Singing, Recording and Performing. London: Carlton publishing.

Bass: Bredice, V. (1993) Mel Bay's Deluxe Jazz & Rock Bass Method. Fenton, MO: Mel Bay Publications.

Clayton, S. (2013) Ultimate Slap Bass. Devon: Bassline Publishing.

Coryat, Karl (ed.) (1999) The Bass Player Book. San Francisco: Miller Freeman Publishing.

Di Bartoli, J. (1997) Serious Electric Bass: The Bass Player's Complete Guide to Scales and Chords. Warner Bros. Publications Inc.

Jisi, C. (2008) The Fretless Bass. London: Backbeat Books.

Licks, D. (1989) Standing in the Shadows of Motown: The Life and Music of legendary Bassist James Jamerson. Milwaukee: Hal Leonard

Sher, C. (2000) The Improviser's Bass Method. Petaluma, CA: Sher Music Co.

Guitar: Gambale, F. (1989) The Frank Gambale Technique Book 1 & 2. New York: Manhattan Music Publications.

Govan, G. (2003) Creative Guitar 1 & 2. Chicago: SMT Publications.

Greene, T. (1981) Chord Chemistry. Newcastle: Dale Zdenek Publications.

Steve Freeman. Jazz-Rock Licks. Hal Leonard.

William Leavitt. A Modern Method for Guitar Volume 1, 2, 3. Berklee Press

William Leavitt. Melodic Rhythms for Guitar. Berklee Press.

William Leavitt. Reading Studies for Guitar. Berklee Press.

Shane Theriot. New Orleans Funk Guitar.

Jim Ferguson. All Blues for Jazz Guitar. Mel Bay.

Jim Ferguson. All Blues soloing for Jazz Guitar. Mel Bay.

Troy Nelson. Guitar Aerobics. Hal Leonard.

David Hamburger, Matt Smith, and Wayne Riker Complete Blues Guitar (second edition) 1994

Journals:

Music Week Magazine

Websites: www.youtube.com

www.snarescience.com

www.vocalist.org.uk

www.singers.com

http://www.youtube.com/

http://www.snarescience.com/

http://www.vocalist.org.uk/

http://www.singers.com/


43

www.singingsuccess.com

www.perbristow.com

www.virtualvoicelessons.net

www.funkychops.com

https://www.sightreadingfactory.com

www.squidoo.com/bass_style

www.drumchannel.com

www.drummerworld.com

www.vicfirth.com/education

www.vater.com/education


http://www.singingsuccess.com/

http://www.perbristow.com/

http://www.virtualvoicelessons.net/

http://www.funkychops.com/

http://www.squidoo.com/bass_style

http://www.drumchannel.com/

http://www.drummerworld.com/

http://www.vicfirth.com/education

http://www.vater.com/education


44

DN/MM603 Music Business and Study Skills

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader & Tutors Module Leader: Alan Duggan-Borges Tutors:

Alan Duggan-Borges

Liza Geddes

Module Summary

Designed to give the student a practical knowledge of the workings of the music industry, this module will help students make informed choices about their career and introduce them to fundamental topics within the music business.

Topics covered within this module are artist management, music law, copyright, digital marketing, basic accounting, merchandising and touring.

This module also includes a study skills element, designed to equip the student with the academic skills they will need for reading, research and essay writing across all modules within the college.


45

Aims

To identify and examine current music industry structures and practices To examine key contemporary developments in the industry To introduce the student to appropriate HE study skills


Distributing your music online Artist management roles and responsibilities Copyright and music publishing Recording companies and record deals Marketing and promotion Tours & merchandise New Business Models Study skills: using the library, essay writing, Harvard Referencing


This module will be delivered using a range of methods including formal lectures with audio-visual support, small group work, coursework, in class exercises, tutor demonstrations, e-learning through the VLE and independent research.


Formative assessment will include Q&A and discussion time in class, informal feedback on weekly tasks, and individual tutorials, which will be available to all students. Weekly readings will be set by tutors and information will be uploaded to your VLE.

Learning Outcomes

On completion of this module a successful student will be able to: 3. Demonstrate knowledge of the structure and mechanics of the music industry 4. Evaluate current developments in the music industry 5. Engage in an appropriate level of reading and research, demonstrating appropriate

academic conventions


46

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Citation

Task

300

words

3 10% Formative W10

2

Study Skills

Research

Essay

1000

words

1,2,3 30% Formative W15

3 Business

Essay

2500

words

1,2,3 60% Summative W26

Assignment Brief

1. Citation Task (300 words) – Individual work Throughout your time on BIMM’s HE courses you will be required to submit essays and coursework which will require cited references and a bibliography to be included within them. This assignment is designed to help you get more accustomed to these academic conventions, whilst promoting the use of the VLE, via which you will be required to submit most of your academic coursework. Provide a short evaluation (300 words) on a key current affair relevant to today’s music business. The topic for evaluation will be provided by your tutor in advance of the assessment. Your submission must cite at least 3 separate references, including at least one book reference and one on-line source. Citations must be shown clearly in the body of text and references must be given using the Harvard Referencing System format. An appropriate bibliography must also be included. 2. Study Skills Research Essay (1000 words) – Individual work Case Study in Online Distribution 1. What are the most useful resources that enable DIY musicians to distribute their work via the internet?

2. How can DIY musicians publicise their online releases effectively?

3. Give two strong examples of internet success in music, and why?

Use appropriate academic reading and industry media sources to support your arguments. Essays should include appropriate use of researched examples and cited quotations, together with a full bibliography using the Harvard Referencing System.


47

3. Business Essay (2500 words) – Individual work Current Developments in the Music Industry Identify and evaluate two important current developments in the music industry. This could be a recent event and/or an issue that has arisen (for example, the dispute over the length of recording copyright).

Research, prepare and submit an essay that demonstrates a detailed understanding of each event or issue. Discuss its consequences for unsigned musicians and for other areas of the business (such as record companies, publishers, managers etc.) where these are relevant.

Use real world examples to demonstrate how these developments could change the industry, including the way they might present new opportunities or threats to unsigned musicians and/or songwriters.

Use appropriate academic reading and industry media sources to support your arguments. Essays should include appropriate use of researched examples and cited quotations, together with a full bibliography using the Harvard Referencing System.

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


48

Assessment Criteria



Assessment

method

1. Demonstrate

knowledge of the

structure and

mechanics of the music

industry

Demonstrate knowledge and

understanding of key areas of the

music industry, including: record

companies; music publishing;

management; live music; marketing

and PR; online distribution

Identify and analyse current music

industry developments and issues,

and explain their impact on

contemporary music practice

Essay 1

Essay 2

2. Evaluate current

developments in the

music industry

Demonstrate knowledge of changes in

industry practice and audience

demands

Evaluate the impact of current

developments for music industry

professionals

Essay 1

Essay 2

3. Engage in an

appropriate level of

reading and research,

demonstrating

appropriate academic

conventions

Engage in the process of effective

research by utilising library and online

research sources

Produce a coherent and clearly

argued essay, demonstrating correct

usage of citation and referencing

Citation Task

Essay 1

Essay 2


49

Reading List

Core texts: Harrison, A. (2017) Music: The Business: The Essential Guide to the Law and the Deals. 7th Edn. London: Virgin.

Taylor, G. (2014) A Student's Writing Guide: How to Plan and Write Successful Essays. 5th Edn. Cambridge: Cambridge University Press

Additional texts: Cooke, C. (2018) Dissecting the Digital Dollar. 2nd Edn. London: Music Managers Forum

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

Kalliongis, N. (2008) MySpace Music Profit Monster. Los Angeles: CreateSpace Independent Publishing.

Knopper, S. (2009) Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. London: Simon & Schuster

Lathrop, T. (2005) This Business of Music, Marketing & Promotion. New York: Billboard.

Passman, D. (2019) All you need to know about the Music Business. 9th Edn. London: Penguin.

Journals: Music Week London; CMP Record of the Day London: Music Today Ltd

Websites: Complete 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/

Music Ally: http://musically.com/


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

https://www.musicbusinessworldwide.com/

http://www.billboard.com/biz

http://www.hypebot.com/

https://www.nextbigsound.com/

http://musically.com/


50

DN/MM601 Artist Development and Entrepreneurship

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader: Joe Wall Tutors: Joe Wall

Turlough Gunawardhana

Dave Magee

Module Summary

In this module students will develop an understanding of what it takes to become a professional-standard artist. In the ever-changing music industry, it is now necessary to become a competent, resilient and self-reliant artist. This module takes a hands-on approach to learning, helping students develop skills related to making music, performing, aesthetic and practical decision making and project management skills. This will enable them to work effectively and evolve into self-sufficient musicians.

Artist Development & Entrepreneurship also benefits from the participation of every BA1 stream. As well as developing skills individually, group assignments provide opportunities for students to work on their team and ensemble skills, to get to know their peers and to find the right people to collaborate with in order to realise their music projects to a high standard.


51

Aims

This module aims to help students develop:

Performance skills Critical thinking skills Critical listening skills Team-working skills The broad range of skills employed by professional music practitioners Appropriate and achievable goals Competence in planning and organising viable music-related projects Writing skills Communication skills


All aspects of live music performance Rehearsal techniques Song writing and arrangement techniques Managing performance anxiety The recording process Music videos – concepts and production planning Radio sessions - interviews and on-air performances Project management & logistics Designing and delivering presentations Essay writing


The module will be delivered using a variety of methods including the following: ensemble performances, tutor-led lectures, individual and group work, debating, critiquing demos and professional material, project research and independent study.

Activities throughout the year are geared towards preparing students for the module assessments. There will be a focus on group work, formulating creative ideas and problem solving through effective collaboration. On occasion, groups will be required to work together outside of class hours to undertake certain tasks. Students will be given opportunities to develop their ability to critique performances through constructive peer-to-peer feedback sessions.

Moodle, the virtual learning environment, is an integral part of the module, hosting the module guide, the scheme of work and many resources provided to help students complete assignments successfully. Students are required to engage with it regularly.

Tutorial sessions are held weekly (available to all students) and provide valuable opportunities for one-to-one tuition and support.


52


Opportunities will be provided to perform or present individual and group work in class regularly. Feedback sessions will follow these performances and presentations, with input from tutors and peers. The tutorial sessions mentioned above also provide opportunities for formative assessment.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Identify the skills required of a professional standard artist 2. Demonstrate the organisation and planning skills needed to be a successful music

practitioner 3. Evaluate the plan with reference to personal skills and development

Assessment

Assignment Brief

6. Music CV Submission– Individual work

Students are required to create a music-related CV. This will be valuable document highlighting your musical abilities and achievements. It is also an important first step in developing your Artist Development Plan.

When constructing your CV consider possible employment opportunities and the wide variety of skills that they require. Some examples include: joining a band; session work as a musician (live or in studio); music-related roles in theatre or film productions;

Assign

ment

Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Music CV

Submission

300

words 2 10% Formative W7

2 Artist

Development

Plan

1500

words 1,2,3 40% Formative W17

3 Artist

Development

Presentation

15

minutes 1,2,3 50% Summative W26-W29


53

creative, organisational or administrative roles in music or arts related projects, teaching music, sound engineering.

Your CV should detail your music-related abilities and experience and should fit on one A4 page. You should include at least 2 clear photographs of yourself - one headshot and one performance shot, if available, embedded within the CV document.

Please consider the following points:

The layout should be professional

Include professional-looking photographs – this is often the first place a potential

employer of musicians will look

Include your contact details, date of birth and address. Very often people include

personal details such as height, colour of hair and eyes etc. for possible film, TV or

theatre opportunities

Include a short introductory paragraph outlining who you are and what you have to

offer. Writing this section in prose in the first person singular helps to give your CV a

personal touch.

Elsewhere, use bullet points and concise language to convey information

List your experience starting with the most recent activities, including dates and

detail where possible. Include non-music related experiences or achievements if you

feel it’s appropriate

List music-related skills

Mention useful skills that aren’t purely music-related if they are relevant, e.g.

computer skills, software skills, driving license, languages, organisational skills,

artistic and creative skills

Include references with contact details (ideally two). Make sure that they have

agreed to this and that their personal contact details information are not included

without their permission (in most cases stating their name, the name and address of

the organisation they work for is sufficient)

Include quotes with your references (where possible)

Include online links to your work/performances, but only if they do you justice

7. Artist Development Plan 1500 words (individual work)

Submit an essay appraising your current development as an artist and setting forth a plan to achieve a goal that relates to this. Your work should contain the following sections:

An overview of your artistic development: Provide background information, outlining artistic experience and identifying skills you have acquired. Discuss your experience of the module to date, focussing on particular areas of interest, describing your involvement and evaluating what you have learned.


54

Discuss strengths and areas for improvement regarding your artistic development. A plan to achieve your chosen goal: Outline a viable artistic goal that you can achieve in the short term. Explain your reasons for choosing this goal and its relevance to your development and long-term plans. Use the SMART criteria to examine and refine your goal. Demonstrate your planning and organisational abilities by putting together a detailed proposal to achieve this goal. Use a CPA chart (a time-bound schedule of events) to illustrate how you would undertake this plan, step by step. You should provide an assessment of the artistic, administrative and organisational tasks necessary to achieve the desired outcomes. Your own role in undertaking this plan must be significant, however a degree of engagement or collaboration with other parties must also be factored in, and the responsibilities of each party must be specified. There should be reasoned and informed consideration of the practical, financial and commercial and aesthetic aspects, with sufficient detail to constitute a viable plan. It should be evident that your plan has been well researched. An evaluation of your artist development plan: Present a critical evaluation of your artist development plan and make comparisons to appropriate professional examples. Evaluate the plan with reference to relevant cultural, social or political influences. Back up claims you make by citing informative source material. You should also make further recommendations for your future professional development.

Some factors that should be considered whilst developing your plan:

Convey the artistic motivation and aesthetic considerations of your Artist Development Plan

Consider carefully whether your short-term goal is suited to your current situation and stage of artistic development.

What skills do you hope to acquire or improve? What skills are entailed in undertaking this project that collaborators could potentially

provide? Is your plan realistic and achievable?

*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.


55

8. Artist Development Presentation — 15 minutes (individual work)

You are required to deliver a 15-minute presentation of your Artist Plan. This presentation should demonstrate that your plan is further developed since submitting your written proposal for Assessment 2. It should be a well-prepared and well-structured piece that adheres to the assessment criteria.

As per the proposal (the essay), provide background detail, discussing relevant artistic experience and related skills. Describe your participation in this module, focussing on one or two areas of particular interest, explaining the influence this has had on your artistic development.

Describe a short-term artistic goal, explaining your reason for choosing it and present a detailed plan to achieve it as per the essay brief. A CPA chart that illustrates the schedule of tasks involved in reaching this goal should be included in the presentation. Relate any major adaptations to your goal or plan that have occurred since the submission of your essay, explaining the reasons for these changes. There should be a discussion of how the tutor feedback on your essay has been implemented. Discuss recent developments to your plan, including details of any related collaborations that have taken place. A critical and informed evaluation of all aspects of your artist development plan should be included.

As per the proposal, it’s important to show that your assertions have been researched. Refer to your sources in the presentation and include them in a bibliography of references presented using the Harvard Reference System at the end of your presentation.

Aesthetic aspects of the presentation should be considered, including its design and layout. Bear in mind that audio and visual aspects of presentations are very important - media such as photographs, audio and video clips and artwork should be used to illustrate aspects of your plan and to visually enhance your presentation.

Presentation skills such as familiarity with the subject matter, an engaging delivery, clarity of communication and timing are taken into account.

You must use a professional format and appropriate media in your presentation. Online links to YouTube, iTunes or Spotify will not be available on the day of your presentation. All files (audio or other) should be saved directly to your USB stick. Your presentation must not be longer than 15 minutes, including music.


56

Assessment Criteria



Assessment

method

1. Identify the skills

required of a

professional

standard artist

Identify the broad-ranging skills that

enable self-reliant music

practitioners to be effective

Determine the skills necessary to

undertake specific tasks and

processes associated with a chosen

plan and assign roles accordingly

CV

Submission

Artist

Development

Plan

Artist

Development

Presentation

2. Demonstrate the

organisation and

planning skills

needed to be a

successful music

practitioner

Put together a well-constructed

curriculum vitae

Assess the artistic, managerial and

organisational roles for the selected

development plan

Produce an appropriate plan and

schedule of events in order to realise

a music project

Use a professional format and

appropriate media to outline the

development of the plan

CV

Submission

Artist

Development

Plan

Artist

Development

Presentation

3. Evaluate the plan

with reference to

personal skills and

development

Offer an insightful evaluation of your

artistic development, relating it to

short-term and long-term goals and

plans.

Appraise to third party feedback on

your development and endeavours

Conduct informative research of

cultural and professional examples

and influential factors

Make recommendations for future

artistic and professional

development

Artist

Development

Plan

Artist

Development

Presentation


57

Reading List

Core texts:

Cole, R. & Barker, S. (2009) Brilliant Project Management. London: Prentice Hall.

Klickstein, G. (2009) The Musicians Way: A Guide To Practice, Performance and Wellness. Oxford: Oxford University Press.

Greene, B. (1986) The Inner Game of Music. 1st ed. USA: Pan Books

Additional texts:

Davis S. & Laing D. (2002) The Guerrilla Guide to the Music Business. London: Continuum.

Green, D. (2002) Performance Success: Performing Your Best Under Pressure. London: Routledge.

Lathrop, T. (2005) This Business of Music, Marketing & Promotion. New York: Billboard.

Online Resources

DIY Musician Blog. 2017. DIY Musician Blog: Music Promotion for Independent Musicians. [ONLINE] Available at: http://diymusician.cdbaby.com

Online Magazines:

Hotpress Magazine: Hotpress.com

New Musical Express: NME.com

Q Magazine: Qthemusic.com

Music Week Magazine: Musicweek.com

Reading lists are regularly supplemented on the Moodle, the BIMM VLE. Your tutor will advise you on any updates.

http://diymusician.cdbaby.com/


58

DN/MM605 Pre-Production & Live Performance Workshop 1

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning

Lectures:24 x 2 Hours (LPW), 24 x 1.5 Hours (Pre-Production)



Module Leader: Ollie Cole Tutors:

Ollie Cole

Gavin Fox

Jay Oglesby

Simon McBride

Dave Peyton

Cormac Neeson


59

Module Summary

This module takes the student through the process of effective live performance, from thorough individual preparation to live ensemble performance. It provides musicians with an opportunity to apply the knowledge and skills acquired in Techniques 1 (DN/MM609), and Styles 1 (DN/MM607).

The Pre-Production Skills component aims to equip musicians with the professional band rehearsal techniques necessary for learning new material, musical part preparation and effective rehearsal methodologies. Tutors will guide students through professional pre-production and memorisation methods, covering the musical arrangement and structure of a given song, as well as the individual parts, tone and feel. Pre-production classes will be taught in individual instrumental group and each then be followed up within a separate Live Performance Workshop.

The Live Performance Workshop component offers musicians the opportunity to further develop the prepared material to a standard suitable for live performance before an audience. In this class, musicians will be put together into ensemble groups made up of the various disciplines and each group will work towards a fully competent performance. Musicians will be encouraged to develop confident performance techniques, arrangement skills and the interpersonal skills necessary for effective communication, all of which are essential to professional preparation and performance.

Both of these classes aim to encourage professional attitudes in performance and rehearsal, with close attention to detail in recreating the track in an authentic manner.

N.B. If a track has two guitar parts, guitarists will be expected to learn both. Similarly, if there are vocal harmony parts, singers should be prepared to learn all parts and drummers should have an awareness of any additional percussion parts and be prepared to play them. All students must be prepared to perform in class each week.

Aims

To understand the process of rehearsal and the requirements of working with other musicians in a professional environment

To learn and perform new material to a high standard quickly and effectively To understand and employ effective live performance techniques, including

ensemble skills, rehearsal methods and leadership To interpret tracks with energy, confidence and imagination To understand the component parts of a technically proficient and musical

performance To give and receive feedback effectively, and implement this in an effective manner

to improve musical ability in performance


60


Using musical reference material effectively and accurately How to analyse and rehearse individual musical parts professionally Playing as an effective unit/ensemble Understanding of personal/ensemble dynamics in rehearsal and performance Playing in a controlled manner Using tempo control aids such as clicks and loops Listening to other members of the ensemble effectively and communicating on stage Developing confidence as a stage performer (and learning to control nerves/anxiety) Reflective practice and analytical skill as they apply to performance


This module will be delivered using a range of methods including: Tutor presentation with audio/visual support, individual work, small group work, tutor/peer feedback and self-reflection, coursework, discussions, tutor demonstration, e-learning through your VLE, independent study and research, personal rehearsal time.

An integral part of the teaching and learning methods used to deliver this module is a system of feedback and self-reflection developed at BIMM. This includes a mixture of peer and tutor feedback, small group feedback teams and written self-reflection. The aim is to encourage reflective practice, which can then inform a constructive practice regime. Reflection will also focus on the transferable skills employed within each track that can be applied to other performances, including the student’s own original music.


Formative assessment takes the form of LPW feedback sheets which are used to give each performer constructive feedback and encouragement. These sheets include areas for peer feedback, as well as student self-reflection. Students are encouraged to use this formative assessment to inform their practice regime.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Apply necessary preparation and rehearsal skills for effective live ensemble

performance 2. Demonstrate technical instrumental or vocal skills for effective live ensemble

performance 3. Demonstrate appropriate presentational and interpersonal skills within live

ensemble performance


61

Assessment

No Summative

Assessment Methods

Length Learning Outcomes Addressed

Assessment Weighting

Formative/

Summative

Assessment Week

1 Ensemble Performance Exam

10 mins 1,2,3 10% Formative W10




10 mins 1,2,3 50% Summative W27

Assignment Brief

1-3. Ensemble Performances – Group work

Each term you will be required to form a band of BIMM students, to deliver an accurate and artistic performance at the ‘end-of-term’ (EOT) gig auditions.

Your band may include a number of ex-BIMM students, along with a maximum of one non-BIMM musician. Musicians playing instruments not taught by the college are also permitted.

You are required to book your assessment performance/audition slot at BIMM reception. Booking will open approximately two weeks ahead of the assessment week, and you will receive an email notification of this.

Please take note of the following points:

Pay close attention to correct tone, tuning and intonation. Performances needs to be confident, controlled, and ‘played-out’ to the audience. Image and presentation are important elements of the performance. Appropriate song choice is essential.

Your band be expected to conduct themselves in a professional manner, e.g. taking/leaving the stage quickly and in an organised manner. You must introduce your performance, giving details of your song choice, band name, members being assessed etc.


62

You will also be marked on Individual skills such as instrumental/vocal technique, performance, ‘playing-out’ to the audience and communication with fellow band members on stage. Assessors will also be looking for evidence of effective preparation and rehearsal methodology, based upon areas such as appropriate song choice, cohesive and confident ensemble performance etc.

Assessment Criteria

Outcome Students will be assessed on their ability to:

Assessment method

1. Apply necessary preparation and rehearsal skills for effective live ensemble performance

Select, rehearse and perform suitable ensemble repertoire

Organise and take part in a musical performance in a professional and reliable manner

Live Performance

2. Demonstrate technical instrument or vocal skills for effective live ensemble performance

Perform with other musicians demonstrating a proficient level of technical instrument or vocal skill.

Live Performance

3. Demonstrate appropriate presentational and interpersonal skills within live ensemble performance

Communicate with fellow band members and perform out to an audience in context to the music being performed

Exhibit an appropriate quality of control, confidence and self-presentation in performance.

Live Performance


63

Reading List

Core texts:

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

Additional texts:

Baxter, M. (1999) The Rock ‘n’ Roll Singer’s Survival Guide. Milwaukee: Hal Leonard Publishing.

Delamont, G. (1965) Modern Arranging Technique. New York: Kender Music. Ganapes, J. (2000) Blues Licks You Can Use: Tips for performance. Milwaukee: Hal Leonard.

Green, B. (2003) The Mastery of Music: Ten Keys to Musical Excellence. London: Pan. Green, B. (2005) The Mastery of Music: Ten Pathways to True Artistry. London: Pan.

Kain, R. (2003) The Complete Vocal Workout, a step-by-step guide to Tough Vocals. Chicago: SMT Publications. Taruskin, R. (1996) Text and Act: essays on musical performance. Oxford: OUP.

Reading lists are regularly supplemented on the BIMM VLE – your tutor will

advise you on any updates.


64

DN/MM604 Music Theory and Keyboard Skills

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader: Karl Breen Tutors:

Keith Farrell Karl Breen Darren Bell Danny Snow Adam Taylor

Module Summary

This module provides the student with an introduction to the fundamentals of music theory, with practical applications of theoretical concepts on the piano keyboard. It will also facilitate the development of aural recognition and transcription skills, to better prepare the student for the range of musical situations they are likely to encounter as a professional musician.


65

Aims

To train students to identify and notate the harmonic, melodic, and rhythmic aspects of contemporary music using industry standard notation

To enable the student to analyse and perform 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 introduce students to the concepts of rhythm and pitch recognition To enable students to perform written pieces of music To prepare students for the BA Year Two Applied Music Theory and Transcription

module by showing them how to accurately transcribe music


Knowledge of Musical Vocabulary: clefs and staves, note values and rests, time signatures, reading music on your instrument of choice

Melodic and Harmonic Construction: intervals, scales, triads and their inversions Music Theory Concepts: seventh, ninth, eleventh, and thirteenth chords and their

inversions, voice leading, modulation, modal scales and scales Rhythm: simple, compound, and odd time signatures Basic Arranging: the roles that guitar, bass, drums, and vocals play in various

genres in contemporary music and how music for these specific instruments is notated

Introduction to basic rock instrumentation score reading: Interpreting, realising, and transcribing parts written for and played by a rock group


This module will be delivered utilising a variety of methods including; tutor led lectures/workshops, group work, e-learning through your VLE and independent study and research.

Formative & Summative Assessment

Formative assessment will include playing in class time, and individual tutorials, which will be available to all students. Weekly exercises will also be set by tutors and information will be uploaded to the VLE website. Formative assessment will also enable students to highlight areas for improvement before formative and summative assessment in weeks 11, 21/22 and 28.


66

Learning Outcomes

On completion of this module a successful student will be able to: 1. Identify and interpret industry standard music notation 2. Construct, notate and perform key elements of popular music 3. Identify musical features from industry standard music notation

Assessment

No Summative

Assessment

Method

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Keyboard

Skills and

Viva Voce

10mins

1,2,3 15% Formative 11

2 Keyboard

Skills and

Viva Voce

10mins 1,2,3 25% Formative 21/22

3 Written and

Aural Exam

90mins 1,2,3 60% Summative 28

Assignment Brief

1 & 2. Keyboard Skills and Viva Voce (10 mins) – Individual work

Students will be asked to-

i) Demonstrate, on the keyboard, a range of musical elements, including simple intervals, chord triads and scales, selected by the assessor from a prescribed list. Students will have a limited amount of preparation time before performing these.

ii) Identify and perform an interval, chord triad OR scale written in industry standard notation, and will be assessed on their ability to correctly interpret standard conventions of musical notation.

iii) Demonstrate a wider understanding of music theory concepts, by explaining the function, composition or recognised application of a specific music theory topic, selected by the assessor on the day from the coursework covered in Term 1 of the Module for assessment 1, and coursework covered in Terms 1 and 2 for assessment 2.

1. Written and Aural exam (90 mins) – Individual work This exam will- i) Test the student’s ability to identify, analyse, and notate music theory concepts. ii) Test the student’s ability to aurally recognise, analyse and transcribe a range of

melodic and harmonic musical elements.


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Precise specifications will be made available by your tutor prior to your assessment.

Assessment Criteria

Reading List

Core texts: BIMM Dublin. 2017 – 18. BIMM Music Theory Reference Manual

Turnbull, D. (2004) Aural Time! Grade 8: Practice Tests for ABRSM and Other Exams. London: Bosworth.

Additional texts: Bellson, L. (2000) Modern Reading Text in 4/4. New York: Alfred Publishing.

Bellson, L. (2000) Odd Time Reading. New York: Alfred Publishing.

Taylor, E. (1990) The AB Guide to Music Theory Vol. 1. Oxford: Oxford UP.

Taylor, E. (1990) The AB Guide To Music Theory Vol. 2. Oxford: Oxford UP.

Taylor, E. (1999) First Steps In Music Theory Grades 1-5. Oxford: Oxford UP.



Assessment

method

1. Identify and interpret

industry standard music

notation

Correctly interpret elements of

contemporary music from examples

written in standard musical notation

Keyboard

Skills and

Viva Voce

Written &

Aural Exam

2. Construct, notate and

perform key elements of

popular music

Accurately notate the melodic,

harmonic, or rhythmic aspects of

contemporary music using standard

notation

Keyboard

skills and Viva

Voce

Written &

Aural Exam

3. Identify musical

features from industry

standard music notation

Recognise and identify theoretical

concepts

Create written theoretical examples

Analyse compositional excerpts and

label compositional techniques using

industry standard terminology

Keyboard

skills and Viva

Voce

Written &

Aural Exam


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DN/MM606 Song-writing Techniques 1

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader: Ollie Cole

Tutor: Ollie Cole

Module Summary

This module focuses on the development of creative ideas, and how to develop them into finished songs. Topics include creating ‘hooks’, subject matter, lyric writing, song form and structure, elementary arrangement and basic studio production techniques, as used by some of the world’s most successful composers.

This module will equip the student with the tools to put creative energy into practice, inspiring them to engage in new compositional techniques to improve their skills as a songwriter.


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Aims

To develop professional compositional technique To develop skills that help create effective melodic composition To write more effective and expressive lyrics To understand and utilise techniques that will further develop songwriting skills To be able to work to a strict and precise brief To be able to respond positively to criticism and feedback as a reflective practitioner To be able to create effective working practices


Context and working methods in popular songwriting Composition and arrangement techniques Melody top-line writing techniques Lyric writing techniques Working with others; building and leading a team Working to a precise commercial brief Reflective practice and self-analysis Working with media: formats, conventions and techniques


This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars and practical workshops/demonstrations, student led seminars, e-learning through your VLE and independent study and research


Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online tasks utilising multiple-choice questionnaires (via your VLE).


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Learning Outcomes

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

1. Develop a portfolio of original melodic, rhythmic and harmonic ideas 2. Create a portfolio of original compositions using instrumental and lyrical combinations 3. Explain the development of original compositions and arrangements 4. Produce multi-tracked recordings utilising modern technology

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Composition

(1 song) Recording 1,2,4 10% Formative W12

2

Composition

(1 song)

and

reflective

statement

750

words +

recording

1,2,3,4 30% Formative W18

3

Composition

(2 songs)

and

reflective

statement

1500

words +

recording

1,2,3,4 60% Summative W26

Assignment Brief

1. Composition Portfolio (1 song) – Individual work. You will be required to write a song to a specific brief, which you will receive approximately 4 weeks in advance of the submission date. A multi-track recording of your song must be submitted through Moodle. You tutor will review the assignment brief in detail in class.


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2. Composition Portfolio (1 song) and written summary (750 words) – Individual work. You will be required to write a song to a specific brief, which you will receive approximately 4 weeks in advance of the submission date. A multi-track recording of your song must be submitted through Moodle. Along with your song recording, you must provide a written analysis (total word count 750 words), outlining details of the style and genre that you have chosen, and the song-writing techniques you have employed. You tutor will review the assignment brief in detail in class.

3. Composition Portfolio (2 songs) and written summary (1500 words) – Individual

work

You will be required to write and arrange TWO songs, to a specific brief, which you will receive approximately 4 weeks in advance of the submission date. A multi-track recording of your songs must be submitted through Moodle.

The audio quality of your recordings must be of an appropriate level. Your tutor will provide you with additional guidelines regarding this component of the assessment.

Along with your recordings, you must submit a written summary (total word-count 1500 words). Your analysis of the compositions should discuss and justify some or all of the following elements:

• Structure and form

• Chord progressions, inversions and voicings

• Riffs and melody, including any melodic devices you may have utilised

• Musical and lyrical theme development

• Rhythmic and tempo considerations

• Production value and recording techniques employed

Precise compositional briefs will be made available from your tutor prior to your assessment.


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Assessment Criteria

Reading List

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

Edstrom, B. (2010) Recording on a Budget: How to Make Great Audio Recordings Without Breaking the Bank. Oxford: Oxford University Press.

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

Additional texts: Baker, F. (2015) Therapeutic Songwriting: Developments in Theory, Methods and Practice. London: Palgrave Macmillan



Assessment

method

1. Develop a portfolio of

original melodic,

rhythmic and harmonic

ideas

Create melodic, rhythmic and harmonic

ideas from different stimuli

Generate original melodies and hooks

Composition

Portfolio

2. Create a portfolio of

original compositions

using instrumental and

lyrical combinations

Manipulate and develop musical ideas

using different compositional

techniques

Create original compositions meeting

the brief of the commission

Create compositions in different forms

Composition

Portfolio

3. Explain the

development of original

compositions and

arrangements

Evaluate the rationale and

methodology behind the development

of original compositions

Composition

Portfolio

4. Produce multi-tracked

recordings utilising

modern technology

Document your musical ideas utilising

modern technology whilst paying

careful attention to the overall aesthetic

Composition

Portfolio


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DN/MM608 Styles Analysis

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader: Colm Quearney Tutors: Mick Tierney

Module Summary

Styles Analysis is concerned with the deconstruction and study of the elements that make up successful popular songs. This includes a look at the historical, social and biographical context that may have had a bearing on the composers of these songs, as well as a study of some of the specific influences and references that they utilised.

This module requires students to employ critical listening and aural perception to look at music and lyrics objectively, in order to understand how they might work on us subjectively. The student will be concerned with the connections made between one artist, or one type of music and another and the wide-open artistic “radar” that all these great artists possessed.

The module will broaden the vocabulary for writing, arrangement and production, providing the skills and aptitudes necessary for lifelong learning in this field.


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Aims

To promote deeper musical listening and composition analysis comparable to that of professional musicians and producers, so that this becomes a lifelong skill

To unpack key features of tracks such as dynamics, tempo, feel and recording techniques

To enable learners to better identify the key stylistic influences on artists To enable learners to better understand the historical and social context of music To learn by example to improve the learners’ own songwriting and motivate them to

take a wider, more knowledgeable view of music


Analysis of classic tracks Using artists and their work to provoke a social/historical discussion Looking at genres and their origins Specific study of technical/arrangement ideas Analysis of the complex web of musical and non-musical influences on a given track


This module will be delivered using a variety of methods including tutor-led lectures and class discussions, active listening to professional material, e-learning via your VLE and independent study and research.


Formative assessment will include Q&A’s, tests & quizzes, student presentations and verbal feedback, which will provide background material for formal assessment.

Individual tutorials will be available to all students.

Weekly exercises will also be set by the tutor and information will be uploaded to your VLE.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Analyse the musical arrangement techniques exhibited by established composers 2. Evaluate developments in popular music 3. Appraise the stylistic elements of popular music recordings


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Assessment

No Summative

Assessment Methods

Length Learning Outcomes Addressed

Assessment Weighting

Formative/

Summative

Assessment Week

1 Styles Analysis Presentation

15 minutes

1,2,3 30% Formative W18-W19

2 Styles Analysis Presentation

15 minutes

1,2,3 70% Summative W26-W29

Assignment Brief

1 & 2 Presentation (15 minutes) – Individual work

Give a presentation on an artist of your choice, using key examples of their work.

Outline and analyse the musical elements and the possible reasons for them, including the instrumentation, recording techniques, musicians employed, production style, social and historical context.

Discuss the artist’s influences, and their consequent influence on others, as well as how the artist has affected and influenced you. In order to show that references have been researched, include a bibliography with your references presented using the Harvard Reference System at the end of your presentation.

You are encouraged to employ various presentation techniques to make this as engaging and informative as possible, including short audio and visual examples, hand-outs, and presentation software such as Microsoft PowerPoint. Online links to YouTube, iTunes or Spotify will not be available on the day of your presentation. All files (audio or other) should be saved directly to your USB stick. Your presentation must not be longer than 15 minutes, including music.


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Assessment Criteria

Reading List

Core texts: Baur, M. & Baur, S. (2004) The Beatles and Philosophy (Popular Culture and Philosophy). Peru, Illinois: Open Court.

Cage, J. & Gann, K. Silence. Middletown, CT: Wesleyan University Press

Curtis, J. (1987) Rock Eras: Interpretations of Music and society 1954-1984. Bowling Green, OH: Bowling Green State University Popular Press.

MacDonald, I. Revolution in the head: The Beatles’ records and the Sixties. London: Vintage.

Ross, A. (2009) The Rest is Noise. London: Harper Perennial.

Storr, A. (1997) Music and the mind. New York: Random House.

Werner, C. (2002) A Change is Gonna Come: Music, Race and the soul of America. London: Penguin.

Additional texts: Boucher, D. & Browning, G. (eds) (2004) The Political Art of Bob Dylan. London: Palgrave Macmillan

Brothers, T. (2006) Louis Armstrong’s New Orleans. London: WW Norton & Co.

Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors London: Pimlico.

Goddard, S. (2007) The Smiths: Songs that saved your life. Brühl: Heel Verlag Gmbh.

Lewis, L. (1991) Gender Politics and MTV: Voicing the Difference. Philadelphia: Temple University Press.

Outcome Students will be assessed on their ability to:

Assessment method

1. Analyse the musical arrangement techniques exhibited by established composers

Critically examine techniques used in commercially successful compositions and arrangements

Styles Analysis Presentation

2. Evaluate developments in popular music

Critically comment on the relationship between significant artists, their music and contemporary culture


3. Appraise the stylistic elements of popular music recordings

Analyse the instrumentation and production techniques utilised in popular music



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Marcus, G. (1993) In the Fascist Bathroom: Punk in Pop Music, 1977-92. London: Viking.

Scully, F.M. (2013) The Never-Ending revival: Rounder records and the Folk Alliance. Chicago: University of Illinois Press.

Starr, L. & Waterman, C. (2003) American Popular Music. New York & London: Oxford UP.

Tate, J. (2005) The Music and Art of Radiohead. London: Ashgate Publishing.

Toop, D. (2001) Ocean of sound: Aether talk, Ambient sounds and Imaginary worlds. London: Serpent’s Tail.

Weller, S. (2008) Girls like us: Carole King, Joni Mitchell, Carly Simon - and the Journey of a Generation. London: Atria Books.

White, T. (2006) Catch a fire: The Life of Bob Marley. London: Omnibus Press.

Websites:

www.therestisnoise.com

http://www.therestisnoise.com/


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DN/MM602 Live Arrangement Workshop

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning

Lectures: 21 x 1.5 Hours, 21 x 2 Hours



Module Leader: Ollie Cole Tutors: Ollie Cole

Dave Geraghty

Module Summary

This module takes students through the process of arranging and rehearsing their compositions to a standard suitable for public performance. It provides musicians with an opportunity to apply the knowledge and skills acquired in Styles Analysis (DN/MM608) and Artist Development and Entrepreneurship (DN/MM601).

The Pre-production Skills component aims to equip writers with the professional band rehearsal techniques necessary for arranging new material and effective pre-production methodologies. Tutors will guide students through many professional techniques to encourage creativity and individuality in this stage of the module. Pre-production classes will be taught in small groups, two of which lead into a Live Arrangement Workshop.

The Live Arrangement Workshop component offers writers/performers the opportunity to further develop the prepared material, to a standard suitable for live performance before an audience. In this class, arrangers and performers will work in conjunction with


79

the the BIMM ‘House Band’ and will be expected to rehearse their performance to a high standard. Students will be encouraged to develop confident performance techniques, arrangement skills and the interpersonal and communication skills required to ensure a professional-standard performance.

Both classes aim to encourage professional attitudes in pre-production, arrangement and performance, with close attention to detail on creativity and individuality.

N.B. Students are encouraged to participate in the development of all arrangements, taking notes on the weekly arrangements and performance ideas, and continually providing analysis and critical feedback of the overall process.

Aims

To implement professional pre-production and arrangement techniques To develop the vocabulary to lead professional musicians through arrangement and

performance in an analytical environment To arrange and perform original material to a high standard quickly and effectively To develop and employ effective live performance techniques, including ensemble

skills, rehearsal methods and leadership To interpret arrangements and performances with dynamics, creativity and

confidence To analyse critically the component parts that make up a technically proficient and

engaging performance To give and receive feedback effectively, and implement this in an effective manner

to improve musicality and ability in performance


Using musical reference material effectively and accurately to enhance arrangements

Analysing and rehearsing individual musical parts professionally Performing as an effective ensemble Understanding personal and ensemble dynamics in creative and performance

situations Performing as an emotive and committed musician Listening to the members of the ensemble effectively and communicating on stage Developing confidence as a stage performer (and learning to control nerves/anxiety) Reflective practice and analytical skill as they apply to arranging and performance


This module will be delivered using a range of methods including tutor presentation with audio/visual support, individual work, small group work, tutor/peer feedback and self-


80

reflection, coursework, discussions, e-learning through the VLE, independent study and research, personal rehearsal time.

An integral part of the teaching and learning methods used to deliver this module is a system of feedback and self-reflection developed at BIMM. This includes a mixture of peer and tutor feedback, small group feedback teams and written self-reflection. The aim is to encourage reflective practice, which can then inform an open and creative work ethic. Reflection will also focus on the transferable skills employed within each song that can be applied to other performances, including the student’s own development of original material outside of the classroom.


Formative assessment will include the working up of arrangements and performances in class time, with individual tutorials available to all students. Weekly goals, research and reading will be set by tutors for outside class time study as well as information and reading being uploaded to your VLE to provide e-learning opportunities for all students.

Learning Outcomes

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

1. Apply necessary preparation and rehearsal skills for effective live ensemble performance

2. Perform original compositions as an ensemble 3. Demonstrate appropriate presentational and interpersonal skills within live ensemble

performance

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Ensemble

Performance

Exam


2

Ensemble

Performance

Exam

10 mins 1,2,3 60% Summative W25


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Assignment Brief

1 & 2: Live Performance (10mins)

You will be required to form a band, to perform an original composition of your choice in a live setting.

Your band can include a number of ex-BIMM students, and a maximum of one non-BIMM musician. Musicians playing instruments not taught by the college are also permitted.

Assessors will be looking for evidence of effective preparation and performance skills such as:

• Pre-Production

• Confidence

• Stylistic awareness

• Musicality

• Creative arrangement

• Effective dynamics

• Communication

Assessment Criteria



Assessment

method

1. Apply necessary

preparation and

rehearsal skills for

effective live ensemble

performance

Select, rehearse and perform suitable

ensemble repertoire

Organise and take part in a musical

performance in a professional and

reliable manner

Live

Performance

2. Perform original

compositions as an

ensemble

Effectively arrange and perform original

compositions with other musicians

Live

Performance

3. Demonstrate

appropriate

presentational and

interpersonal skills within

live ensemble

performance

Communicate with fellow band

members and perform out to an

audience in context to the music being

performed

Exhibit an appropriate quality of control,

confidence and self-presentation in

performance.

Live

Performance


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Reading List

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

Additional texts: Delamont, Gordon (1965) Modern Arranging Technique. New York: Kender Music. Ganapes, J. (2000) Blues Licks You Can Use: Tips for performance. Milwaukee: Hal Leonard.

Green, B. (2003) The Mastery of Music: Ten Keys to Musical Excellence. London: Pan Books. Green, B. (2005) The Mastery of Music: Ten Pathways to True Artistry. London: Pan Books. Greene, D. (2002) Performance Success: Performing your best under pressure. New York: Routledge. Taruskin, R. (1996) Text and Act: essays on musical performance. Oxford: OUP.

Baxter, Mark (1999) The Rock ‘n’ Roll Singer’s Survival Guide. Milwaukee: Hal Leonard Publishing. Kain, R. (2003) The Complete Vocal Workout, a step-by-step guide to Tough Vocals. London: Sanctuary Publications.

Additional resources: DVD Beatles Anthology Apple 1997

DVD The Band – The Last Waltz MGM 1978

DVD Nirvana - Live! Tonight! Sold out! Geffen 1994

DVD Classic Albums: Pink Floyd – The Making of the Dark Side of the Moon Isis Productions/Eagle Rock Entertainment 2003

DVD Classic Albums: Fleetwood Mac – The making of Rumours

DVD / Netflix: The Wrecking Crew – 2008

DVD Standing in the shadows of Motown - 2002



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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.


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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.


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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


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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. Utilise 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


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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.


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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


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Electives Group B

The Songwriter/Producer DN/MM710 10

Studio Recording DN/MM709 10

Music Publishing DN/MM704 10

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


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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


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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


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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 ... · please pay particular attention to...

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