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UCAS Code: J930

Programme Handbook

Contents

1. Introduction..............................................................................................2Welcome....................................................................................................................2Purpose of Handbook.................................................................................................2

2. Course content.........................................................................................3Course Distinctiveness...............................................................................................3Course Structure........................................................................................................6

3. Course Aims.............................................................................................9Programme Aims.......................................................................................................9Programme Intended Learning Outcomes..................................................................9Graduate Attributes.................................................................................................11

4. Learning Environment............................................................................13Learning and Teaching Methods..............................................................................13Facilities...................................................................................................................13Work-based Learning...............................................................................................14Project work.............................................................................................................14

5. How Quality is assured...........................................................................15Quality monitoring and evaluation...........................................................................15

6. Employability..........................................................................................177. General course information....................................................................18

Methods of Communication.....................................................................................188. Module Descriptors....................................................................................i9. Appendices............................................................................................xxi

Appendix 1 - Marking Criteria..................................................................................xxiAppendix 2 - HE Student Policies and Procedures..................................................xxii

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Programme Handbook, UCW 2017/18

1. Introduction

Welcome

Welcome to the Music Production Foundation Degree. This course is offered in partnership between Bath Spa University and University Centre Weston. You are a registered student at Bath Spa University and at UCW, and you have access to services on both sites.

Purpose of Handbook

This handbook provides essential background information that will be of help in your studies on the FdA Music Production programme. It provides links to the definitive data sources wherever possible. The handbook can be accessed via your Moodle account.

My advice is to skip to the Course Content section, in particular the Course Structure, as this contains the most immediate information about what you will study. You can return to the rest of the information at your leisure!

Please note that the electronic version will be kept up to date and you will be notified of any significant changes. If you have taken a hard copy of any information please remember to refer back to the electronic version to ensure that you are working with the most up to date information.

For detailed module information please see the respective Module Handbook.

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2. Course contentMajor, Joint, Minor or Specialised SpecialisedDelivered at UCWFaculty Creative Arts and DesignCampus University Campus / Loxton Campus

Final award FdA Music ProductionIntermediate awards available Certificate of Higher EducationUCAS code J930Details of professional body accreditation

Not applicable

Relevant QAA Benchmark statements Music Subject Benchmark Statement

Foundation Degree Characteristics StatementDate specification last updated June 2018

Course Distinctiveness

Why study Music Production at FdA Level?

The course provides tuition and guidance in three key areas of the music-production business: professional audio/media software, sound engineering, and reflective practice.

All strands of the course are taught through practical activity to ensure a thorough understanding of industry practices.

Throughout the course the emphasis will be on developing the skills necessary to gain successful employment in the audio production industry.

In addition to the specific technical and creative skills addressed in Section 3, we aim to create self-confident, flexible, creative problem solvers who will go on to make waves within their chosen area of the music technology industry.

Employment within the field of Music Production requires initiative, invention, time and people management, and the ability to creatively respond to demanding situations. The recording studio, live desk or DAW is an unsolved problem to which only you hold the answer, and the ability to make informed guesses based on connecting the dots within your own knowledge is a vital part of success.

Through reflective analysis and well-managed challenges the course encourages students to become self-aware and ethically minded individuals who are able to engage critically and responsibly with the world and its industries.

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Social and interpersonal attributes form a vital part of work in all areas of the music and media industries. Students are taught to reflect on their ability to build productive and business-like relationships in all areas of the course, as your peers are your future professional collaborators.

If you successfully gain all the credits necessary to achieve your award, you can apply for progression to ‘top-up year’ at UCW University Campus leading to the award of a BA(Hons) in Professional Music Performance and Production.

Figure 1: Framework for Higher Education Qualifications

This course has been designed with employability in mind and has been written to enable students to engage with the issues and developments affecting the Music Production industry. Its vocational focus allows students to spend a significant amount of time within the workplace in order to gain experience, manage a variety of small projects and develop a range of skills. A vocational approach is underpinned by academic theory and industry standards that allow students to assess problems, make comparative judgments and suggest a range of alternative approaches. The modules have been designed to deliver a balance of theory and practical experience of key aspects of the Music Production industry.

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Link Tutor

Each programme has an identified link tutor from its validating partner University whose role it is to support the Weston team and students. The link tutor for your programme is:

Name Role Email

Pete Bernard Senior Lecturer in Commercial Music, Bath Spa University

[email protected]

All HE programmes at UCW are delivered as a collection of modules, which build on each other to form a complete programme of study.

Each module carries a credit rating, defining how much study time it takes to complete. Notionally, 1 credit equates to 10 hours study time (so 10 credits = 100 study hours).

Study hours includes lectures, seminars, tutorials, group work, independent study and research – in fact, any time that contributes to your learning on the module.

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Course Structure

Overall

The course is designed to provide you with a portfolio / CV which demonstrates your ability within a range of specialisms, with the aim of streamlining this to match the expectations of your chosen career path or institution of higher study.

The CV breaks down into three main sections: Creative Portfolio; Technical Portfolio; Communication Portfolio.

Creative Portfolio is a celebration of your innovation, either through your own composition, production, or a combination of both. This might include an EP, software or hardware design, or a range of studio and live sound collaborations.

Technical Portfolio is designed to demonstrate your ability to achieve basic and expected skills in production to a professional level. This might include commercial recording, mixing, and mastering, but also evidence of working with a range of industry standard hardware and software, and applying standard practice in production processes.

Communication Portfolio proves that you have what it takes to express and pitch your ideas, contextualize them with research, manage professional relationships, manage your own time, and use commercially standard communication systems.

All module submissions and any relevant independent work will be reviewed with guest specialists, staff and peers in light of your developing industry goals at points throughout the year, in order to assemble the best possible springboard into your next step during the final weeks of the programme.

This is not an assessed component, but is a vital stage in your progression, and an incredible opportunity to reflect on your achievements and future.

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Year One

Full time Year 1 of studyLevel Title Credits Code

4 Creative Audio Applications 40 WM4120-404 Recording Studio Practice 40 WM4121-404 Music Production in Context 40 WM4122-40

Creative Audio Applications

This module provides students with a thorough knowledge of industry-standard audio applications.

Students will gain a range of transferrable creative skills in the areas of: analogue and digital audio manipulation; creative hardware applications; digital audio workstations; MIDI programming; mixing; sampling, and synthesis.

A further aim of this module is to expose students to the creative potentials of digital and analogue audio applications when used in different contexts, including circuit bending and instrument design. It will also focus on wider considerations of industry practice and procedures for creative work.

Recording Studio Practice

This module equips students with a thorough understanding of the recording studio environment and the methods of recording, processing and propagating sound.

Recording Studio Practice balances practical and theoretical approaches to recording and mixing contemporary music, with the creative potential of analogue and digital music production hardware. By recreating classic studio setups and sounds, students can build their own production styles through reinterpretation of the greats.

A further aim is to develop a professional work ethos and an understanding of the varying responsibilities of studio related roles. All these skills are transferrable to your DAW or live music environment.

Music Production in Context

Students will gain understanding of the technical principles of music and sound, as well as musicological principles that surround Music Production and Technology, through academic research and critical analysis skills.

This module connects the dots between technical theory, practical application, and the broader impact upon society and culture that Music Production can have. This form of contextualisation not only informs academic practice, but also commercial music writing skills (i.e. for magazines and other media outlets), and your ability to stay current within your own creative practice.

Creative application of the principles and techniques from the lecture series will be explored through a portfolio of work, demonstrating a balance of theoretical understanding and creative application of music production tools. Students will be provided the opportunity to research, in depth, areas of particular interest related to the cultural impact of Music Production.

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Year Two

Full time Year 2 of studyLevel Title Credits Code

5 Sound for Media 40 WM5120-405 Advanced Music Production 40 WM5014-405 Audio Visual Technologies 40 WM5121-40

Sound for Media

The creative use of image, sound and music is fast becoming the most sought after skill in the creative industries. This module will introduce students to the process of sound design and music composition for film, TV, computer games and multimedia.

The module will explore the creative and technical challenges of creating sound for moving image, and the use of music and sound to support and enhance narrative structures. You will be encouraged to think laterally and inventively in dealing with sound, music and picture relationships.

Advanced Music Production

Building upon the practical and critical skills learned across all modules at level 4, Advanced Music Production digs deep into complex and innovative recording, production and performance technologies and practice.

Using producer case studies to uncover the keys to historical and contemporary styles of production, this module explores how students can develop their own unique and professional practice, using a range of advanced digital and analogue production tools.

Seemingly simple concepts such as routing and MIDI control are expanded upon and evolved until they reveal themselves to be transferable and malleable beyond the usual expectations. Students are supported and encouraged to ‘re-wire’ technology to achieve unique and professional results. Producers are nothing if not inventive, and this module aims to develop innovators within the field.

Audio Visual Technologies

The ever-increasing shift towards live production for contemporary musicians (performers and producers alike) reflects the commercial movement away from the traditional record industry model. The technology is available for almost any creative project to go live, and live sound engineering is a backbone of the professional producer’s income.

This module will expose students to the varied technologies that populate live music, art, and events productions. This module aims to integrate digital technologies into live performance, alongside a thorough understanding of live sound reinforcement, audio-visual applications and appropriate promotion and commercial strategies for working in the live production arena.

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3. Course Aims

Programme Aims

1. To promote the development of an in-depth understanding of: music production techniques across digital and analogue platforms recorded and live performance production techniques the creative application of industry standard audio tools within a professional context.

2. To engage with professional music production processes, materials and technologies, whether through composition, performance, engineering, or critical review.

3. To provide students with the opportunity to explore and analyse historic approaches to music production and analyse the impact on music production practise that socio-cultural and technological development has had.

4. To enable and encourage innovative and collaborative work that reflects the nature of the recording industry in the 21st century.

5. To develop accomplished employability attributes enabling graduates to apply for work in a diversity of professional music production contexts.

6. To develop skills in academic writing, critical thinking and research methods, and the ability to evaluate different approaches to problem solving.

Programme Intended Learning Outcomes (NB These will also be the ILOs for level 5)

A Subject-specific Skills and Knowledge

A1: Demonstrate an in-depth understanding of a range of music-production hardware and software

applications.

A2: Demonstrate a detailed knowledge of the principles and concepts underlying good studio practice with an

awareness of health and safety guidelines in a professional environment.

A3: Identify and critically analyse the impact of developing technologies on the history of music production

and how these have influenced key principles and practices.

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A4: Plan and implement the effective application of creative audio-visual production technologies.

A5: Demonstrate and personify an in-depth understanding of the roles and responsibilities of music

production professionals.

B Cognitive and Intellectual SkillsB1: Undertakes research to produce innovative responses to creative briefs.

B2: Evaluate a range of professional practices, appropriately, and creatively, implementing feedback from a

variety of sources to reach personal development goals.

B3: Reflect upon and evaluate one’s own performance within a collaborative or team setting, identifying

limitations and potential improvements.

B4: Analyse and anticipate specific impacts of the development of technology on music production,

demonstrating a detailed knowledge of key concepts and practices.

C Skills for Life and WorkC1 Autonomous learning (including time management) as would be necessary for employment requiring the

exercise of personal responsibility and decision-making such that significant responsibility within

organisations could be assumed.

C2 Team work as would be necessary for employment requiring the exercise of personal responsibility and

decision-making for effective work with others such that significant responsibility within organisations

could be assumed.

C3 Communication skills commensurate with the effective communication of information, arguments and

analysis in a variety of forms to specialist and non-specialist audiences in which key techniques of the

discipline are deployed effectively.

C4 IT skills and digital Literacy that demonstrate the development of existing skills and the acquisition of new

competences.

Intermediate awards

Level 4 Intended Learning Outcomes (CertHE)

A Subject-specific Skills and Knowledge

A1. Explore and demonstrate a broad understanding of a range of music-production hardware and software applications.

A2. Identify the principles and concepts underlying good studio practice with an awareness of health and safety guidelines in a professional environment.

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A3. Demonstrate the use of appropriate recording and mix-down procedures within a professional recording studio environment.

A4. Demonstrate an awareness of, and discuss, the roles and responsibilities of music production professionals.

A5. Collect information from a variety of sources, utilising them to articulate the socio-cultural and technological concepts that underpin music production.

A6. Comprehend and apply key concepts of acoustic phenomena and the physical nature of sound.

B Cognitive and Intellectual Skills

B1 Use lateral thinking to produce innovative responses to creative briefs.

B2 Evaluate a range of professional practices and relate to personal development.

B3 Reflect upon and evaluate one’s own performance within a collaborative or team setting.

B4 Analyse the impact of technologies on music production in the past and in the future.

C Skills for Life and WorkC1 Autonomous learning (including time management) as would be necessary for employment requiring the

exercise of some personal responsibility. C2 Team work as would be necessary for employment requiring the exercise of some personal responsibility

for effective work with others. C3 Communication skills that demonstrate an ability to communicate outcomes accurately and reliably, and

with structured and coherent arguments. C4 IT skills and digital literacy that provide a platform from which further training can be undertaken to

enable development of new skills within a structured and managed environment.

Graduate Attributes

Bath Spa Graduates… In Music Production, we enable this…1 Will be employable: equipped with the skills

necessary to flourish in the global workplace, able to work in and lead teams

Through programme and module design. All teaching and assessment is written expressly with the skills of the global marketplace in mind and with direct industry consultation.

2 Will be able to understand and manage complexity, diversity and change

Programme materials and module design have been created and developed with reference to the changing nature of, and diverse complexities within, the music related industries. Yearly review, at all levels will ensure that change is affected where necessary.

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3 Will be creative: able to innovate and to solve problems by working across disciplines as professional or artistic practitioners

In engaging with creative briefs students will utilise creativity, innovation and problem solving. Working across disciplines is an essential component of professional and artistic practice as well as the application of creative thinking techniques.

4 Will be digitally literate: able to work at the interface of creativity and technology

Digital literacy is embedded within the programme both in subject specific activities (industry standard digital audio workstations and recording studio interfaces) and the organisation, management and presentation of research, formative and summative assessments.

5 Will be internationally networked: either by studying abroad for part of the their programme, or studying alongside students from overseas

Collaboration will be encouraged and supported with industry-based work and projects. The programme offers the opportunity for the study of topics with both international and cultural significance.

6 Will be creative thinkers, doers and makers The ethos of the programme is to encourage creativity and the creation of professional products that evidences informed reflection and a creative approach to problem-solving.

7 Will be critical thinkers: able to express their ideas in written and oral form, and possessing information literacy

Students will present themselves and their ideas in a multitude of ways including: the ability to critically analyse, conceptualise and communicate key concepts and conduct research within the field of Music Production.

8 Will be ethically aware: prepared for citizenship in a local, national and global context

Throughout the programme, the spirit of community will be engendered. Ethical awareness and collaboration are integral to the socio-cultural aspects of music production; these concepts are instilled through work-based learning and, professional and academic development.

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4. Learning Environment

Learning and Teaching Methods

UCW has a Learning and Teaching Strategy for Higher Education, which underpins our approach.

We intend that the learning programme should be both stimulating and demanding, and should lead you through progressive stages of development, towards increasingly complex and open-ended tasks, increasingly sophisticated application of intellectual/conceptual and personal (transferable) skills, and increasingly independent study.

A variety of learning methods will be used, which might include:

Lectures Seminars Experiential learning Reflective learning Skills practice Group work and group discussions Workshops Fieldwork Supervised studio/lab-based activity Case studies Student presentations Information and communications technology (ICT) based activities Visiting speakers/expert practitioners will be used during the programme

UCW actively encourages the development of technology enhanced learning and you will find staff utilising new teaching methods to enhance your learning experience.

Facilities

The FdA degree is equipped with a state of the art recording studio comprising a 45 channel Audient ASP8024-HE, a wide selection of rackmount outboard effects and processors, industry standard monitors and a wide range of classic microphones from Electrovox to Coles. We also have additional access to the college-level (UAL) studios, both analogue and digital, allowing us to become used to a range of production environments.

In addition you will have access to a Mac computer workstation containing the latest industry standard audio software.

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Work-based Learning

During the first year there are residential visits to modern state of the art recording studios where students spend several days recording bands in a real world situation.

During your second year you will work with other students to organize a series of public facing live music events. You will have an opportunity in these projects to fulfil a variety of roles in the areas of live sound, marketing, logistics and stage management. You will also have the opportunity to lead a team of other students. Lecturers will only oversee and support this process, it will be you as budding industry professionals who have the decision-making power.

Where relevant, module submissions are designed to be used for literal employment applications, as well for the CV Portfolio. For example, Sound for Media supports you through an application to a Bristol-based Media company as a sound for film professional, which is also assessed as a submission for that module.

In addition to this the University has been successful in developing industry links that have allowed students to work for short periods recording studios and festivals as far afield as London. In order to obtain one of these positions you will be expected to take a proactive role in finding your ideal placement.

Project work

Most of your work on your Foundation Degree will be project based.

Your deadlines will tend to be grouped around particular dates, which means that you will need to develop effective time-management strategies.

You will have numerous opportunities to receive feedback on your projects as you work on them but the responsibility for meeting deadlines as well as setting and meeting interim deadlines will be yours. This is a vital skill for any professional occupation and will be one of the most important abilities developed on the course.

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5. How Quality is assured

Quality monitoring and evaluation

The programme you are studying was approved by Bath Spa University. As part of the approval process it was assured that

The content of the programme met national benchmark requirements; The programme met any professional/statutory body requirements; and The proposal met other internal quality criteria covering a range of issues such as admissions policy,

teaching, learning and assessment strategy and student support mechanisms.

This was done through a process of programme approval which involves consulting academic experts including subject specialists from other institutions and industry.

How we monitor the quality of this programme

The quality of this programme is monitored each year through evaluating:

External examiner reports (considering quality and standards); Statistical information (considering issues such as the pass rate); and Student feedback including the National Student Survey (NSS).

Drawing on this, and other, information programme teams undertake an annual monitoring process, in accordance with the University's quality policy.

Once every six years an in-depth review of the subject area is undertaken by a panel that includes at least two external subject specialists. The panel considers documents, looks at student work, speaks to current and former students and speaks to staff before drawing its conclusions. The result is a report highlighting good practice and identifying areas where action is needed.

The role of the Programme Committee

This course has a Programme Committee comprising all relevant teaching staff, student representatives and others who make a contribution towards its effective operation (e.g. library/technician staff). The Programme Committee has responsibilities for the quality of the programme and plays a critical role in the University's quality assurance procedures.

External examiners

The standard of this programme is monitored by at least one external examiner. External examiners have two primary responsibilities:

To ensure the standard of the programme; and To ensure fairness and equity.

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The external examiner for your programme:

Name Role in institution Name of institution

Michael Brown Senior Lecturer University of Derby

As part of their role, external examiners complete an annual report for the University commenting on the learning, teaching and assessment standards of the modules and the programme overall. The report will highlight areas of good practice and identify areas for development, as well as provide assurance that your programme is of an equable standard to similar HE provision nationally.

External examiner reports, and the University’s response, are shared with students. They are normally discussed at Staff/Student Liaison Committees and made available online, via Moodle.

External references

The following methods are used for gaining the views of other interested parties:

Feedback from former students; Feedback from employers;

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6. EmployabilityThe Foundation Degree has been designed to support students wishing to enter the music and audio production industries.

According to a Community and Cultural Skills report published in June 2012, the music industry in the UK has a workforce of 124,420. Of these 41% are employed in the area of live performance, 27% are involved in the production and retailing of musical instruments and audio equipment, and 12% work in the recording sector does have the highest proportion of full-time workers in the industry, however, with 89% working full-time. 25% of the workforce as a whole work in ‘production, retail and distribution, instruments and audio’ and a further 45% work in the area of live performance but much of this work is seasonal and, it is assumed, will be supplemented by other employment. Of the remainder, 7% earn a living through composition and publishing and 6% work in education. Retail and distribution of recordings account for 6% and surprisingly only 1% earn a living through promotion and management. Most of the industry’s workers are freelance so you may find a wide range of skills (including teaching) to be the most secure foundation for a prosperous and satisfying career in music.

Possible future careers include:

Sound design and/or composition for film, TV and multimedia Live sound engineering Events management Sound recording and/or post production for film and TV Freelance music production Multimedia programming Audio post-production engineering Software development Independent artist

The course has currency as a degree qualification and aims to train music technologists for the career paths listed above. The professional-studies strand aims to equip these students with a practical knowledge of the wider industry rather than train them for specific roles. However, many music technologists do find employment in some other part of the industry such as:

Music publishing Collection agencies Musical instrument manufacture, distribution and retail Production and distribution Music Product Retail Managers/agents/promoters Record companies Web design Music education

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7. General course information

Methods of Communication

The majority of the material and information you need will be available via the relevant Virtual Learning Environment (VLE) for your programme. You will be introduced to the use of the VLE during the early stages of your study.

As part of enrolment on your course personal student email accounts will be generated automatically for both UCW and BSU. You should check these addresses regularly as although some students prefer to use their own personal accounts, UCW and validating University will communicate with you via your formal accounts, so it is important that you make use of them and check them regularly. Emails sent to your student email accounts are equivalent to letters, memoranda and other forms of communication. For example, information regarding exams, timetables and assessments will be sent via these formal email channels.

Please check your UCW email inbox regularly (at least daily) for new messages or you may miss essential information relating to your studies. Likewise, you should use your Weston student email for communicating with staff of UCW.

As part of your programme you may be asked to use social media sites, such as Facebook or Soundcloud, in a context that reflects current industry practice. As such your engagement with such sites should be of a professional standard at all times.

You should keep UCW informed of any change in your postal addresses (home and/or term time). Please inform your Faculty Office of any change to these addresses.

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8. Module DescriptorsLevel 4 Modules

1 Module code WM4120-402 Module title Creative Audio Applications3 Subject field Digital Academy 4 Pathway(s) n/a5 Level 46 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 weeks15 Main campus location UCW University Campus16 Module co-ordinator Lee Sullivan17 Additional costs involved n/a18 Brief description and aims of module

The key aim of this module is to give students a thorough knowledge of industry-standard audio applications. Students will gain a range of transferable creative skills in the areas of: analogue and digital audio manipulation; creative hardware applications; digital audio workstations; MIDI programming; mixing; sampling, and synthesis.

A further aim of this module is to expose students to the creative potentials of digital and analogue audio applications when used in different contexts (circuit bending and basic instrument design, for example). It will also focus on wider considerations of industry practice and procedures for creative work.

19 Outline syllabusThis module will extensively explore varied creative audio applications and apply these within creative projects. By way of extensive practical activity students will develop an understanding of digital and analogue audio theories in practice.

Indicative areas of study include: Use of Digital Audio Workstations (Logic Pro X & Ableton Live) Exploration of Analogue and Digital Synthesis The origins and uses of MIDI for composition and control Circuit Bending and creative audio application design Analysis of the history, and various uses, of sound generating tools

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20 Teaching and learning activitiesThe lecture series will be complimented by seminars, workshops, guest lecturers and, is further supported by online resources. Students will have opportunities to practice techniques learnt from the lecture series and apply them to their own projects, as well as the core creative projects that form the summative assessments.

21 Intended learning outcomesBy successful completion of the module, you will be able to demonstrate: 1. The employment of a chosen audio software package to meet the requirements of a professional brief.2. Understanding and application of professional practice in audio production across a multitude of industry formats.3. Knowledge and understanding of synthesis and sampling techniques.4. Evidence an understanding of the creative audio industry and apply appropriate research skills and critical analysis.

How assessedS1, S3

S3

S1

S222 Assessment and feedback

Formative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesF3. PresentationsSummative assessments:S1. Creative Portfolio 1 (2500 word equivalent)S2. Research Project (2500 words)S3. Creative Portfolio 2 (5000 word equivalent)

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23 Learning resourcesUniversity Library print, electronic resources and EBSCO:

Reading List:Burgess, J. (2012) YouTube: Digital Media and Society. Polity Press.

Collins, N. (2006) Handmade electronic music: the art of hardware hacking. Taylor & Francis.

Cousins, M. (2014) Logic Pro X: Audio and Music Production. Focal Press.

DeSantis, D. (2015) Making Music: A Book of Creative Strategies. Ableton Publishing.

Hesmondhalgh, D. (2007) The Cultural industries, London: Sage.

Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide. New York University Press.

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Katz, B. (2007) Mastering Audio: The Art and the Science. Focal Press.

Nahmani, D. (2013) Apple Pro Training Series: Logic Pro X. Peachpit Press.

Pejrolo, A. (2011) Creative Sequencing Techniques for Music Production. Focal Press

Robinson, K., 2014. Ableton Live 9. CRC Press.

Rothermich E. (2013) Logic Pro X – How It Works. Create Space Independent Publishing.

Rothermich , E. (2015) Logic Pro X- The Details (Part 1 + 2). Create Space Independent Publishing.

Russ, M. (2012) Sound Synthesis and Sampling. Focal Press

Current Journals and Popular Music Press:

Popular Music (print at Weston, BSU online) Popular Music History (BSU online) Popular Music and Society (BSU online) Music Trades (BSU online)

Key web-based and electronic resources:

Oxford Music Online (BSU) Naxos Music Library (BSU)Garland Encyclopedia of World Music Online (BSU) Rock’s Backpages (BSU) Mintel (Weston and BSU) MAC Pro video www.macprovideo.com Groove 3 - www.groove3.com Musicnotes.com www.puremix.net Lynda www.lynda.com

Specialist resources:Apple Mac Computer Suite2 Industry standard Recording StudiosLogic Pro XPro Tools 12 HDAbleton Live

24 Preparatory work

Students are encouraged to explore a range of audio applications in the context of their own creative practice. Students will also have access to pre-set reading and electronic learning

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resources that should be explored before and during the lessons.

Students also have access to various learning facilities that will help them to explore tasks set within the module as well as creative exploration of their own practice.

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1 Module code WM4121-402 Module title Recording Studio Practice3 Subject field Digital Academy4 Pathway(s) N/A5 Level 46 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 weeks15 Main campus location UCW University Campus16 Module co-ordinator Paul Quinn17 Additional costs involved N/A18 Brief description and aims of module:

The core aim of this module is to equip students with a thorough understanding of the recording studio environment and the methods of recording, storing and propagating sound. Recording Studio Practise balances practical and theoretical approaches to recording and mixing contemporary music, with the creative potential of analogue and digital music production hardware. Students will begin to develop a professional work ethos and understanding of the varying roles and responsibilities of music professionals.

Students will reflect upon the technical processes employed, production decisions made, and approach to working both individually and collaboratively.

19 Outline syllabusThis module will involve extensive exploration of studio environments/technologies. Students will be given a systematic introduction to key processes that underpin studio practice as well as many of the skills and approaches employed in the recording of popular music.

Indicative areas of study include: Recording Studio Hardware and Software Pre and Post-Production Processes Industry Approaches to Studio Practice Microphone Technique Stylistic Approaches to Recording Recording Studio History Exploration of Key Practitioners

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20 Teaching and learning activitiesThe lecture series will be complimented by seminars, workshops, guest lecturers and is further supported by online resources. Students will have opportunities to practice techniques and apply them to their own projects as well as the core research and creative projects that form the summative assessments. Teaching will be primarily in the form of hands-on workshops, allowing each student as much tactile experience of industry standard equipment as possible. Lectures and workshops will be delivered from an industry standard recording studio environment, with complimentary sessions (including some exploration of Avid software) making use of music workstations to allow greater student access and learning. Students can book the studios from the start of the course and are expected to make extensive use of the facilities throughout the year as well as employing them to complete assessed project work.

21 Intended learning outcomesBy successful completion of the module, you will be able to demonstrate:1. Competence and skill in the use of a range of studio hardware and software in a variety of production contexts.2. Ability in the application of different approaches to industry standard studio recording and mixing concepts.3. The creative application of studio techniques and evidence of innovation and experimentation4. The ability to develop professional relationships and effective communication skills with musicians and colleagues in a studio setting

How assessed

S1, S2, S3

S1, S2

S3

S1, S322 Assessment and feedback

Formative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesSummative assessments:S1. Recording Portfolio 1 (10 minutes – equivalent 2500 words)S2. Technical Report (2500 words)S3. Recording Portfolio 2 (20 minutes – equivalent 5000 words)

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Reading List:Bazil, E. (2009) The Art of Drum Layering. PC Publishing.

Bazil, E. (2009) Sound Equalisation Tips and Tricks. PC Publishing.

Collins, M. (2014) Pro Tools 11 Music Production, Recording, Editing and Mixing. Focal Press

Izhaki, Roey (2011) Mixing Audio: Concepts Practices and Tools. Focal Press

Huber, David (2013) Modern Recording Techniques. Focal Press.

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Katz, Bob (2007) Mastering Audio: The Art and the Science. Focal Press.

Massey, Howard - (2009) Volume 2 Behind The Glass: Top Record Producers Tell How They Craft the Hits. Backbeat Books.

Owinski, Bobby (2009) The Drum Recording Handbook. Music Pro Guides.

Scott, Ken (2011) Epic Drums: Guide to Recording and Mixing Drums. Alfred Publishing.

Senior, Mike (2011) Mixing Secrets For the Small Studio. Focal Press

White, Paul (2011) The Producer’s Manual. Sample Magic




Oxford Music Online (BSU) Naxos Music Library (BSU)Garland Encyclopedia of World Music Online (BSU) Rock’s Backpages (BSU) Mintel (Weston and BSU) Musicnotes.com www.puremix.net Lynda www.lynda.com


24 Preparatory workStudents are encouraged to explore a range of recording studio techniques in the context of their own creative practice. Students will also have access to pre-set reading and electronic learning resources that should be explored before and during the lessons.


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1 Module code WM4122-402 Module title Music Production in Context3 Subject field Digital Academy4 Pathway(s) n/a5 Level 46 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 weeks15 Main campus location UCW University Campus16 Module co-ordinator Barnbas Yianni 17 Additional costs involved n/a18 Brief description and aims of module:

Students will gain an understanding in the technical principles of music and sound, as well as developing an understanding of musicological principles that surround Music Production and Technology, through academic research and critical analysis skills. The aim of this module is to provide a theoretical background as well as allowing students to consider music as a socio-cultural and technological phenomenon. Creative application of the principles and techniques from the lecture series will be explored through a portfolio of work, demonstrating a balance of theoretical understanding and creative application of music production tools.

Students will be provided the opportunity to research, in depth, an area of particular interest relevant to the lecture and seminar series.

19 Outline syllabusThe module forms the principal academic thread at Level 4 but teaching and learning will involve extensive practical activity so that students can relate theory and practice. By balancing practical exploration of sound and acoustic phenomena, and the socio-cultural appropriations of music technology this module provides the opportunity for students to analyse and explore music production as a science and an art. This would lead to projects based on the creative use of audio processing or the implementation of acoustic principles for creative sound design, with both being informed by academic research.

Indicative areas of study include: The Science of Sound and Acoustics Key Musicological Concepts – i.e. The ‘Art’ of Music Production Key Production Concepts in Context – i.e. Creative Compression

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The Socio-cultural Impact of Technology on the Music and Recording Industries Transformative Music Technology

20 Teaching and learning activitiesThe lecture series will be complimented by seminars, workshops, guest lecturers and is further supported by online resources. Students will have opportunities to practice techniques and apply them to their own projects as well as the core research and creative projects that form the summative assessments. Evidence of learning will be demonstrated through a creative portfolio, research essays and presentations. Presentation of their research will encourage peer learning, independent research and scrutiny of research outcomes.

21 Intended learning outcomesBy successful completion of the module, you will be able to demonstrate: 1. The ability to identify, explain and contextualise a range of sophisticated music production techniques.2. A developed understanding of the subject area and be able to articulate the influence of different technologies that have shaped the history of music production and the recording industry.3. The skills and knowledge to evaluate the principles and behaviour of sound and the sonic effects of the environment.4. The application of theory to practice and the selection of appropriate techniques in the creation of original work

How assessed

S2, S3

S2, S3

S1

S2

22 Assessment and feedbackFormative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesF3. PresentationSummative assessments:S1. Poster Presentation (2000 words equivalent)S2. Creative Portfolio (4000 words equivalent)S3. Research Essay (4000 words)

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Reading List:

Bayley, A. (ed) (2010) Recorded Music: Performance, Culture and Technology Cambridge: Cambridge University Press.

Beard, D. and K. Gloagg. (2005). Musicology: The Key Concepts. New York: Routledge.

Chanan, Michael (1995) Repeated Takes: A Short History of Recording. Verso Books.

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Corey, Jason (2010) Audio Production and Critical Listening: Technical Ear Training. Focal Press

Cox Trevor (2014) Sonic Wonderland: A Scientific Odyssey of Sound. Bodley Head.

Everest, Alton (2005) Critical Listening Skills for Audio Professionals. Course Technology Inc.

Frith, S. (1998). Performing Rites: On The Value of Popular Music. Cambridge: USA: Harvard University Press.

Frith, S. and Zagorski-Thomas, S., (2012). The Art of Record Production. Farnham: Ashgate.

Gracyk, T. (1996). Rhythm and Noise: An Aesthetics of Rock. London: Duke University Press.

Katz Mark (2010) Capturing Sound: How Technology Has Changed Music.

University of California Press.

Milner Greg (2010) Perfecting Sound Forever - The Story of Recorded Music.Granta Books.

Morton, David (2006) Sound Recording: The Life Story of a Technology. John Hopkins University Press

Taylor, Timothy (2011) Strange Sounds: Music Technology and Culture.

Welch, Walter (2006) From Tinfoil to Stereo: The Acoustic Years of the Recording Industry. University Press of Florida.




Oxford Music Online (BSU) Naxos Music Library (BSU) Garland Encyclopedia of World Music Online (BSU) Rock’s Backpages (BSU) Mintel (Weston and BSU) MAC Pro video www.macprovideo.com Groove 3 - www.groove3.com

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Musicnotes.com www.puremix.net Lynda www.lynda.com


24 Preparatory workStudents are encouraged to explore a range of musicological concepts and production techniques in the context of their own creative practice. Students will also have access to pre-set reading and electronic learning resources that should be explored before and during the lessons.


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Level 5 Modules

1 Module code WM5120-402 Module title Sound for Media3 Subject field Digital Academy4 Pathway(s) n/a5 Level 56 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 week15 Main campus location UCW University Campus16 Module co-ordinator Lee Sullivan17 Additional costs involved n/a18 Brief description and aims of module:

The creative use of sound and music with picture is fast becoming the most sought after skill in the creative industries. This module will introduce students to the process of sound design and music composition for film, TV, computer games and multimedia. The module will explore the creative and technical challenges of creating sound for the moving image and the use of music and sound to support and enhance narrative structures. Students will be encouraged to think laterally and inventively in dealing with sound, music and picture relationships.

19 Outline syllabus

This module will introduce students to the process of sound design and music composition for film, TV, computer games and multimedia. The module will explore the creative and technical challenges of creating sound for the moving image and the use of music and sound to support and enhance narrative structures. A critical understanding of a range of sound design and music solutions will be developed, evidenced through portfolio work and research-led academic writing. Through exposure to a multitude of industry standard creative processes students will develop the necessary transferable skills to produce, and analyse, sound for media to professional quality.

Indicative areas of study include: A History of Sound and Music for Media The Role of Sound and Music in Film and TV Game Audio

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Sound Design Foley Recording Post-Production Techniques Alternative Approaches to Sound for Media

20 Teaching and learning activitiesThe lecture series will be complimented by seminars, workshops, guest lecturers and is further supported by online resources. Students will have opportunities to practice techniques and apply them to their own projects as well as the core research and creative projects that form the summative assessments. All material from the lecture series can be revisited using the VLE (Moodle).

21 Intended learning outcomes

By successful completion of the module, you will be able to demonstrate:

1. The ability to demonstrate a range of techniques and processes in creating sound for media.

2. Skills in academic writing, research and critical analysis 3. The ability to relate and apply theory to creative practice.4. In-depth knowledge and understanding of the key principles and

conventions used in sound design for media applications

How assessed

S1 S3

S2S1 S3S1 S2 S3

22 Assessment and feedbackFormative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesF3. Peer PresentationsSummative assessments:S1. Creative Portfolio 1 (3500 word equivalent)S2. Research Essay (1500 words)S3. Creative Portfolio 2 (5000 word equivalent)

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Reading List:Collins, Karen (2008) Game Sound: An Introduction To The History, Theory and Practice of Video Game Music and Sound Design. MIT Press.

Davis, Richard (2010) Complete Guide To Film Scoring. Berklee Press.

Farnell Andy (2010) Designing Sound. MIT Press.

Kalinak, Kathryn (2010) Film Music: A Very Short Introduction. OUP USA.

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Miles, Dean (2014) Location Recording Simplified. Focal Press.

Schaeffer Pierre (2013) In Search of A Concrete Music. University of California Press.

Stevens Richards (2015) Game Audio Implementation. Focal Press.

Saltzman, Steven (2014) Music Editing For Film and Television.






24 Preparatory workStudents are encouraged to explore a range of techniques used by multimedia composers in the context of their own creative practice. Students will also have access to pre-set reading and electronic learning resources that should be explored before and during the lessons.


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1 Module code WM5014-402 Module title Advanced Music Production3 Subject field Digital Academy4 Pathway(s) n/a5 Level 56 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 weeks15 Main campus location UCW University Campus16 Module co-ordinator Barnabas Yianni17 Additional costs involved n/a18 Brief description and aims of module:

The module aims to develop the critical and practical skills learned that have been developed across all modules at level 4. Stylistic approaches to music production will be developed and analysed using integrated hardware and software solutions. Advanced music production methods will be explored using case studies of historical and current industry professionals. A key focus of Advanced Music Production will be combining industry standard practise with an in-depth understanding of musicological concepts that surround the ‘art’ of music production.

19 Outline syllabusThis module will involve extensive exploration of advanced music production processes and technologies. Students will explore and engage in critical discussion surrounding the creative use of the recording studio and the tools within it. There will be substantial focus on the further development of critical musicological skills, embracing socio-cultural and technological concepts that influence music production practitioners. Industry standard software training forms the core instructional element of the module (Pro Tools HD) building on the exploration of DAW’s at level 4. Not only does this develop transferable skills, it encourages students to build a knowledge base of a variety of digital music production tools allowing them to move freely between different professional environments.

Indicative areas of study include: Advanced Digital Audio Workstation use Extended musicological principles and concepts Critical analysis of discrete production processes Creative application of digital audio tools

20 Teaching and learning activities

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The lecture series will be complimented by seminars, workshops, guest lecturers and is further supported by online resources. Students will have opportunities to practice techniques and apply them to their own projects as well as the core research and creative projects that form the summative assessments. Teaching will be delivered by way of a combination of group sessions, lectures and hands-on workshops, master classes and will cover industry standard advanced production skills and techniques. Students can book the studios from the start of the course and are expected to make extensive use of the facilities throughout the year as well as employing them to complete assessed project work.

21 Intended learning outcomes

By successful completion of the module, you will be able to demonstrate:

1. The ability to use of a range of advanced audio tools (both hardware and software) in a variety of professional pre and post-production contexts.2. A range of sophisticated music production techniques.3. Advanced technical and creative skills to produce a final professional audio product.4. An in-depth understanding of critical approaches to music production as a social phenomenon through socio-cultural, historical, and technological investigation.

How assessed

S1 S3

S1 S2S3

S2

22 Assessment and feedbackFormative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesF3. Peer PresentationsSummative assessments:S1. Emulation Project (2500 words equivalent)S2. Research Essay (2500 words)S3. Creative Portfolio (5000 word equivalent)

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Reading List:Bazil, Eddie (2009) The Art of Drum Layering. PC Publishing.

Bazil, Eddie (2009) Sound Equalisation Tips and Tricks. PC Publishing.

Collins, Mike (2014) Pro Tools 11 Music Production, Recording, Editing and Mixing. Focal Press

Izhaki, Roey (2011) Mixing Audio: Concepts Practices and Tools. Focal Press

Huber, David (2013) Modern Recording Techniques. Focal Press.

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Katz, Bob (2007) Mastering Audio: The Art and the Science. Focal Press.

Massey, Howard - (2009) Volume 2 Behind The Glass: Top Record Producers Tell How They Craft the Hits. Backbeat Books.

Owinski, Bobby (2009) The Drum Recording Handbook. Music Pro Guides.

Scott, Ken (2011) Epic Drums: Guide to Recording and Mixing Drums. Alfred Publishing.

Senior, Mike (2011) Mixing Secrets For the Small Studio. Focal Press

White, Paul (2011) The Producer’s Manual. Sample Magic






24 Preparatory workStudents are encouraged to explore a range of musicological concepts and advanced production techniques in the context of their own creative practice. Students will also have access to pre-set reading and electronic learning resources that should be explored before and during the lessons.

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1 Module code WM5121-402 Module title Audio Visual Technologies3 Subject field Music Production4 Pathway(s) n/a5 Level 56 UK credits 407 ECTS credits 208 Core or Compulsory or Optional Core9 Acceptable for FdA Music Production10 Excluded combinations n/a11 Pre-requisite or co-requisite n/a12 Class contact time: total hours Total Hours: 10413 Independent study time: total hours Total Hours: 29614 Duration of the module 30 weeks15 Main campus location UCW University Campus16 Module co-ordinator Lee Sullivan17 Additional costs involved n/a18 Brief description and aims of module:

The ever-increasing shift towards live production for contemporary musicians (performers and producers alike) reflects the commercial movement away from the traditional record industry model. More and more artists, and producers, are looking for creative ways to maintain income from live productions. This module will expose students to the varied technologies that populate live music, art, and events productions. This module aims to integrate digital technologies into live performance, alongside a thorough understanding of live sound reinforcement, audio-visual applications and appropriate promotion and commercial strategies for working in the live production arena.

19 In the first semester students will study live sound systems, including their setup and operation, as well as building a working knowledge of other creative applications of technology within the live production industry. This may include (but not exclusively): live sound reinforcement and spatialisation (surround diffusion); live art installations; kinetic sculptures; projection mapping; and collaborative practise with performers from outside of their subject area.

In the second semester students will learn how to organise and manage an audio-visual event including the logistics, stage management, risk assessment, financial planning, health and safety. Students are asked to create a portfolio of evidence detailing planning of the event to which you have contributed. This might include publicity material, evidence of marketing and film of the event. There will an opportunity to participate in a range of events locally and nationally. Students will produce a portfolio of evidence that showcases their creative work and

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document their understanding of effective and targeted promotion strategies.

20 Teaching and learning activitiesThe lecture series will be complimented by seminars, workshops, guest lecturers and is further supported by online resources. Students will have opportunities to practice techniques and apply them to their own projects as well as the core research and creative projects that form the summative assessments.

21 Intended learning outcomesBy successful completion of the module, you will be able to demonstrate: 1. A thorough understanding of the technical procedures undertaken in the

practice of live sound 2. The ability to work autonomously and responsibly in an events industry

environment 3. The ability to reflect critically and effectively evaluate a range of creative

live production practices.4. Effective planning, organization and promotion skills in the context of live

events

How assessed

S1

S1 S3

S2

S3

22 Assessment and feedbackFormative exercises and tasks:F1. Work in Progress SeminarsF2. MilestonesF3.PresentationsSummative assessments:S1. Live Sound Assessment (2500 word equivalent)S2. Research Essay (2500 words)S3. Events Management Project (5000 word equivalent)

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Reading List:

Baker Bob (2012) Guerrilla Music Marketing Online.Boston. Spotlight Publications.

Biederman, Raven (2013) Basic Live Sound: A Practical Guide. Focal Press.

Bladen, Charles (2012) Events Management. An Introduction. Routledge.

Bailey, John (2013) Glastonbury: A Complete History of the Festival. Halsgrove

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Boonstra, Gregg (2014) Mixing Live Sound: An Application Guide For The Audio Technician. Create Space.

Boyce, Teddy (2014) Introduction to Live Sound Reinforcement

Gibson, Bill (2011) The Ultimate Live Sound Operator’s Book. Hal Leonard.

Knab, Chris and Bartley Day (2013) Music Is Your Business. Four Front Media.

Knopper, Steve (2009) Appetite For Self Destruction: The Spectacular Crash of The Record Industry in The Digital Age. Simon and Schuster Ltd.

Owsinski Bobby (2013) Social Media Promotion for Musicians. BOMG

Reynolds, Andy (2012) Roadie Inc: How To Gain and Keep a Career in the Live Music Industry. Createspace.

Smotherman, Joshua and Bret Campbell. (2015)

White, Paul (2014) The SOS Guide TO Live Sound. Focal Press.

Current Journals and Popular Music Press: Popular Music (print at Weston, BSU online) Popular Music History (BSU online) Popular Music and Society (BSU online) Music Trades (BSU online)

Key web-based and electronic resources: Oxford Music Online (BSU) Naxos Music Library (BSU) Garland Encyclopedia of World Music Online (BSU) Rock’s Backpages (BSU) Mintel (Weston and BSU) Musicnotes.com www.puremix.net Lynda www.lynda.comSpecialist resources:Apple Mac Computer Suite2 Industry standard Recording StudiosLogic Pro XPro Tools 12 HDAbleton Live

24 Preparatory workStudents are encouraged to explore a range of audio visual applications in the context of their

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own creative practice. Students will also have access to pre-set reading and electronic learning resources that should be explored before and during the lessons. Students also have access to various learning facilities that will help them to explore tasks set within the module as well as creative exploration of their own practice.

9. Appendices

Appendix 1 - Marking Criteria

90-100 Exceptional quality work: Outstanding evidence of insight and innovation in the effective use of subject knowledge and understanding and/or use of relevant skills(s). Practical work will equal the quality found in a professional setting

80-89 Excellent quality work: Strong convincing and consistent evidence of insightful nuanced use of subject knowledge and understanding and/or use of relevant skill(s)

70-79 Very good to excellent work: Strong and convincing evidence of consistent use of subject knowledge and understanding and/or use of relevant skill(s)

60-69 Good to very good: Good robust evidence of appropriate and effective use of subject knowledge and understanding and/or use of relevant skill(s)

50-59 Satisfactory to good: Evidence of subject knowledge and understanding and/or use of relevant skill(s) is sufficient and appropriate to the task

40-49 Satisfactory: Evidence of subject knowledge and understanding and/or use of relevant skill(s) but competence in the application of knowledge and/or skills(s) is limited

35-39 Unsatisfactory: Some evidence of subject knowledge and understanding and/or use of relevant skills but knowledge and/or skill(s) lacking in some very important areas.

20-34 Poor: Inappropriate evidence of subject knowledge and understanding and/or use of relevant skill(s). An incomplete assignment.

0-19 Very poor: Negligible evidence of subject knowledge and understanding and/or use of relevant skill(s).

NS Non-Submission: No work has been submitted

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Appendix 2 - HE Student Policies and Procedures

The following UCW Policies and Procedures apply to students:

Code of Conduct and Disciplinary Policy and Procedure

HE Complaints Policy and Procedure

Drug and Alcohol Policy

Guaranteed Levels of Information

Guaranteed Tutorial Entitlement Policy and Procedure

HE Enhancement Strategy

HE Quality Assurance Policy and Procedure

Peer Observation of Teaching Policy and Procedure

These can be accessed in the HE Zone on Moodle via the link below:

https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970

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Documents

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