BA(HONS) CREATIVE MUSIC PERFORMANCE · 2019-12-04 · 3 Award Map – BA (Hons) Creative Music Performance Full-time (2 year accelerated) YEAR 1 (180 CREDITS) YEAR 2 (180 CREDITS)

BA(HONS) CREATIVE MUSIC PERFORMANCE FULL-TIME

AWARD DOCUMENT

2018/2019

Student Administration

VERSION 1 – 23 August 2018 – BACRMPDFU02

2

VERSION CONTROL

VERSION

NUMBER PURPOSE/CHANGE AUTHOR DATE

1 Revised course structure approved first version June 2017

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Award Map – BA (Hons) Creative Music Performance

Full-time (2 year accelerated)

YEAR 1 (180 CREDITS) YEAR 2 (180 CREDITS)

FIRST STUDY BLOCK, LEVEL 4

• DIMEO-P110 Technical Development 1

20 credits, Level 4

• DIMEO-P120 Improvisation 1

20 credits, Level 4

• DIMEO-P140 Rhythm Studies

20 credits, Level 4

TOTAL CREDITS: 60

FIRST STUDY BLOCK, LEVEL 5

• DIMEO-P250 Advanced Techniques 2

20 credits, Level 5

• ADIMEO-P260 Advanced

Improvisation 2

20 credits, Level 5

• DIMEO-P240 Composition and

Arrangement

20 credits, Level 5

TOTAL CREDITS: 60

SECOND STUDY BLOCK, LEVEL 4

• DIMEO- P160 Technical Development

2

20 credits, Level 4

• DIMEO-P170 Improvisation 2

20 credits, Level 4

• DIMEO-P130 Artist Studies

20 credits, Level 4

TOTAL CREDITS: 60

SECOND STUDY BLOCK, LEVEL 6

• DIMEO-P310 Developing Your Own

Style

30 credits, Level 6

• DIMEO-P320 Applied Techniques

30 credits, Level 6

TOTAL CREDITS: 60

THIRD STUDY BLOCK, LEVEL 5

• DIMEO-P210 Advanced Techniques 1

20 credits, Level 5

• DIMEO-P220 Advanced Improvisation

1

20 credits, Level 5

• DIMEO-P230 Artist Analysis

20 credits, Level 5

TOTAL CREDITS: 60

THIRD STUDY BLOCK, LEVEL 6

• DIMEO-P330 Solo Performance

40 credits, Level 6

• DIMEO-P035 Professional Practice

20 credits, Level 6

TOTAL CREDITS: 60

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Award Information Form (AIF) The AIF provides essential information to students, staff teams and others on a particular award or a group of awards in a course and is designed to meet the University’s expectations and those of external bodies such as the Quality Assurance Agency (QAA) in respect of course specifications. Please refer to the Guidance notes on completing Award Information Forms before completing the details below SECTION 1 - General Award Information

Qualification (award type) BA(Hons)

Award Title Creative Music Performance

Intermediate Qualification(s) Cert HE, Dip HE

Awarding Institution Falmouth University

Delivery Partner E-MU Education Ltd (trading as “DIME ONLINE”)

Location of Delivery Online

Duration of Award 2 years, full-time

Professional, Statutory and Regulatory Body accreditation N/A

Accreditation Renewal Date (Month and Year) N/A

Route Code (SITS) BACRMPDFU02

UCAS Course Code N/A

Relevant External Benchmarking Subject Benchmark Statement Music (2016). QAA 1740 – Oct 16

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SECTION 2 – Entry Requirements, Student Support and Further Opportunities

Entry requirements

Standard entry requirements: Standard entry requirements for UK students and students from the European Union are

available here:

https://www.falmouth.ac.uk/apply

Course specific requirements In addition to the academic requirements, applicants must possess an appropriate level of

performance experience, technical facility and critical listening. Grade 5 (or equivalent skills)

musical qualifications are an indicative level of musical ability. Previous experience in live

performance is an advantage and will be taken into account of the applicant’s overall skill set.

For example, the ability to undertake a semi-professional level gig in a convincing manner is a

key factor in a successful application. In addition to these skills, all applicants must demonstrate

drive and commitment to their course of study. The ability to sight read musical notation is an

advantage but not an essential skill.

Language requirements If your first language is not English, it is really important that you have the necessary English

language skills before commencing your studies at DIME ONLINE. For full information on what is

required, please visit: https://www.falmouth.ac.uk/apply

DIME ONLINE Admissions Policy DIME ONLINE is committed to promoting equal opportunities for all applicants. We actively seek

to recruit a diverse student body that is reflective of the wider community.

This includes students from the UK and overseas. We believe that a diverse student body

provides for a more creative and dynamic community and this is in line with the ethos and

mission of DIME ONLINE. No potential student will be excluded from entry to any course as a

result of discrimination on the grounds of age, race, colour, nationality, ethnic origin, sex or

sexual orientation, mental status, disability, religion or belief. DIME ONLINE will operate within

the guidelines of the Disability Discrimination Act.

The aims of this Admissions Policy are to ensure that:

• Entry criteria are transparent and justifiable

• Applicants to DIME ONLINE are treated fairly

• Applications are responded to promptly and efficiently

• Decisions in respect of admissions are made and applications dealt with by appropriate

staff

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• Clear and impartial advice is given to applicants and that they are placed on the most

appropriate course.

• Appropriate policies and procedures are implemented and followed in non-formal

applications (non-standard or no qualifications)

DIME ONLINE undertakes to:

• Conduct regular reviews of all recruitment and admissions procedures

• Provide prospective students with good factual information about our course offer and

what students who join us can expect to experience, through our website and our

prospectus materials as well as through any promotional events and schools exhibitions

we may attend

• Regularly check all prospectus and website materials to ensure they are accurate and up

to date

Pre-application

• DIME ONLINE aims to send a prospectus pack to all applicants within 48 hours of their

initial enquiry

• Pre-application information is available from the website, in prospectuses, leaflets or

brochures covering the following areas:

• Course details including:

➢ Details of indicative curriculum

➢ Accreditation/approval of courses by professional bodies or

Partner Colleges and Universities

➢ The course structures, duration, mode of attendance and

qualification title

➢ The general and subject specific entry requirements for each

course

➢ Range of resources available at DIME ONLINE

➢ Range of teaching staff in each specialist department

• Details of all senior staff at DIME ONLINE

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• Information on recent DIME ONLINE guests and events

• Information on fees and payment arrangements

• Sources of financial assistance (internal and external), including

scholarships and bursaries

• Information on library and learning resources

At Initial Assessment / Audition

• Relevant information will be made available to applicants prior to their assessment

• Applicants will have an individual interview with a specialist admissions tutor who will

assess their level of skill and aptitude, their range of qualifications and expected future

attainments.

• Each applicant will receive immediate feedback on their assessment, and where

appropriate, an offer will be made.

• Applicants will receive an explanation regarding the academic and other support

services available. Should any additional learning support needs be identified these will

be followed up by appropriate specialist staff post offer.

Selection Selection of students is made on the basis of evidence of musical, academic, and personal

experience that meets the advertised admissions criteria for a particular course.

Additionally, admissions staff will look for evidence of an individual’s potential to benefit from

study at DIME ONLINE and to make a positive contribution to the institution. We aim to secure a

good match between the abilities, aptitudes and objectives of the applicant and the demands of

the course and that any offer made is at a level that is appropriate to the potential of the

applicant to succeed and progress towards their own goals.

Students with Disabilities and/or Specific Learning Needs DIME ONLINE has a strong commitment to enabling and supporting students with disabilities to

fully engage with their studies. Every effort will be made to identify the potential needs of

students with disabilities within the detailed admissions interview. This can be organised on the

phone or via email with the admissions team prior to the start of the course. Reasonable

adjustments will be made for those with identified special needs during the admissions process.

Although DIME ONLINE will be responsive and inclusive to students with specific learning needs,

they may have to self-fund any regular assistance and support depending on their

requirements. As a starting point to support students, DIME ONLINE have employed a Learner

Experience Team. This team can provide DIME ONLINE students with an initial assessment of

their learning needs if this is requested, and subsequently will support students at any point

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during the course. The team will also advise students who may require further assessment e.g.

dyslexia testing / DSA. In addition, Module Leaders and Senior Managers may refer a student to

them at any time.

Any student with a disability can discuss with their admissions tutor aids, adaptations or special

requirements that will be required to enable them to fully participate in the course. If

necessary, a meeting will be arranged with the Learner Experience team and a Learner Support

Agreement (LSA) may be implemented to ensure that reasonable adjustments are in place as

needed at any point in the course from enrolment onwards.

Induction, registration and enrolment activities are also fully accessible to disabled students,

and the needs of any student are accommodated in the design of such activities. As part of

DIME ONLINE Equal Opportunities Policy admissions staff will monitor the admissions of

students with disabilities. UK and eligible EU students are supported via the Disabled Student

Allowance. Students who are not eligible for DSA may be supported via internal funding if and

where possible.

Student Support

Audition/Enrolment

Students will be guided through the process at every stage; from initial enquiry and audition to

enrolment on the course. The DIME ONLINE Recruitment and Admissions Manager (RM) is

responsible for overseeing the quality of communication with students. The RM will ensure that

prospective students receive a clear and transparent assessment of their suitability for the

course, prompt feedback on their audition performance, and clear information on the course

content, fees and online delivery methods.

At enrolment DIME ONLINE will adopt Falmouth University procedure for data collection and

will use the SITs system.

During the first week of the course DIME ONLINE will provide a one-week orientation course

consisting of:

• How to navigate the delivery platform (video tutorial and live Q & A session with DIME

ONLINE Head of Education

• Introduction to the course, staff, procedures and rules and regulations (video tutorial)

• Access to resources (library and specialist)

• Where to go for help and guidance (academic, career, pastoral, tutorial)

• Introduction to Higher Education (Lecture)

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• Introduction and networking with peers through Canvas

Continual Academic Support

This is provided in the form of regular study skills and ‘sign post’ lectures delivered by the DIME

ONLINE Head of Education or an appropriate staff member. In addition to this, DIME ONLINE

offer one to one tutorials by Skype, email or video conference through the Canvas delivery

platform.

Students will be supported in their studies by a Module Leader who will guide their academic

progress and facilitate academic and pastoral support through liaison, where appropriate, with

both the student and the relevant support service.

Pastoral Support

This is provided day to day by the Head of Education and Learner Experience Team and

delivered though Skype, email, and video conference through the Canvas delivery platform.

Where required DIME ONLINE can recommend online counsellors but may have to pass on the

cost of this to students. This is specified on the website and explained in writing on enrolment.

Careers

DIME ONLINE is deeply committed to providing career advice and support. This starts in the

recruitment of a roster of tutors who exemplify the values of a successful self-employed music

professional in today’s music industry. DIME ONLINE courses and learning outcomes reflect the

music business as it is today, and our commitment to course development will ensure their

currency in the future. Students are encouraged through the course to form realistic and

achievable career goals, underpinned by research and experience, providing a genuine

understanding of the structure and operation within the industry. The philosophy is described

as ‘designing your own professional life’ and a musician will see this theme recurring

throughout the course.

In addition to the course itself DIME ONLINE provides career-based master classes from world-

renowned artists, the content of which will reinforce the learning outcomes of the course.

One-to-one career guidance, and group tutorial/Q&A is provided by the DIME ONLINE team;

Recruitment and Admissions Manager, Head of Education and some selected Module Leaders.

All these people have had, and maintain, current careers in the music industry at a high level.

Support Times and Availability

Student support in all areas (academic, pastoral and careers) will generally take place by

arrangement between staff and student within the hours of 9 am – 6 pm (GMT) Monday to

Friday. However, there may be exceptions and these will be arranged on a case-by-case basis.

Students are not limited to the number of support sessions they receive, but the amount of the

support given will be dependent on student demand and the availability of staff within the

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hours of a normal working week. As a minimum, DIME ONLINE staff commit to a 20-minute

one-to-one tutorial for each student every two weeks.

Library

DIME ONLINE students can access the online library facility at Falmouth University through the

‘My Falmouth’ Student Portal. Copies of all core texts listed in the Module Information Forms

are available in the library resources. However, not all of the additional or recommended texts

are available in electronic form. Students are encouraged to purchase these texts when

possible, but this is not mandatory. Students are inducted into the library in the orientation

week during the first week of the course.

Distinctive Features

The BA(Hons) Creative Music Performance course allows students to study under the guidance

and supervision of internationally recognised leaders in the field. The intensive nature of the

course enables learners to become skilled practitioners and provides the freedom for them to

develop their own unique and innovative methods of working in their chosen field. The course is

distinctive in the following ways:

• It provides students with specialist tuition from world class tutors, all of whom are

active in the music industry and in educational practice

• It emphasises the importance of free-thinking and individuality in a commercial world,

allowing students to choose areas of emphasis in key areas of the course

• The online delivery mode provides the student with flexible access to lectures and

multi-media course content through an interactive online delivery platform

• The learning process is supported by individual and group tutorials that occur at flexible

times by arrangement with the tutor

• Students are encouraged and guided in the development of their own individual and

innovative style in their discipline

Within the course, modules will ensure that students develop their research and writing skills

and develop contextual and cultural awareness. Their practical studies will be supported with

projects that will help them to contextualise their work into the wider arena, where they can

identify, forge and nurture many new career opportunities.

Virtual Learning Environment (VLE)

Access to the virtual learning environment Canvas will be via http://falmouth.instructure.com.

This will be accessible via the following devices:

Desktop PC (Windows XP S3 & Newer)

Mac (OSX 10.6 & Newer)

Linux (ChromeOS)

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Mobile iOS 5 & Newer

Android 2.3 & Newer

Below are the recommendations for computer specifications:

Computer Speed & Processor • Use a computer 5 years old or newer when possible

• 1GB of RAM

• 2GHz processor

Internet Speed • Along with compatibility and web standards, Canvas has been carefully crafted to

accommodate low bandwidth environments

• Minimum of 512kbps

Screen Readers

• Latest version of JAWS for Internet Explorer 9 & 10 and Firefox

• Latest version of VoiceOver for Safari

• There is no screen reader support for Chrome

Please note that this has been taken from Instructure’s recommendations provided here:

http://guides.instructure.com/s/2204/m/4214/l/82542-what-are-the-basic-computer-

specifications-for-canvas

Canvas

Canvas is the VLE (Virtual Learning Environment) where the delivery of the course will take

place. This will include every aspect of your course and in order for you to gain the best

understanding of environment before you login, we have provided explanations of the areas

below.

How do I Login? The way in which you login to the VLE is via http://falmouth.instructure You will be prompted

for an email address and password. This will be the one you are provided with during the

enrolment process. For example [email protected]. If you have any difficulties with your

email address or password please contact the Service Desk via 01326 213822.

Making Canvas Personal When you login for the first time you will be prompted to configure your communication

preferences. This will allow you to manage how you receive notifications from the environment.

For example, you could set it so that you receive a weekly summary of posts to the My Studio

area. You can also add additional modes of communication via the settings panel on the left-

hand side. Here you can connect your social networking accounts such as Facebook or Twitter.

This will allow you to be notified via these channels if you require. This could be useful for being

alerted when you have received feedback on your assignments.

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Dashboard

Upon logging in you will be presented with your dashboard. Here you will be provided with an

insight into the recent activity within your course. This is broken up into the following sections:

• Recent Activity – This section includes any important announcements, assignment

notifications and also any activity within the My Studio area.

• To Do’s – Your To Do’s consist of areas that require your engagement within your

course. For example, this may be an assignment that needs submitting or that you are

required to take a quiz.

• Coming Up – Coming Up provides you with an insight into any events within your

Calendar.

• Recent Feedback – This section will consist of any feedback you have recently received

for any assignments or quizzes.

Announcements

Within the environment there will be a designated area for announcements. Typically these will

be course specific. For example, it may state to remember to submit Assignment One by

10:00pm on Friday. It will be vital that you ensure you check this area frequently. You can

configure your communication preferences, as stated above, to ensure you get these

announcements immediately and over any social networks you specify.

It is also worth noting that you have the ability to get feeds of course announcements for a

range of devices. This will allow you to receive a feed of course announcements on a range of

devices and software. This page http://guides.instructure.com/s/2204/m/4212/l/50742-how-

do-i-subscribe-to-an-announcement-feed illustrates how to add feeds to your devices.

For more information on the Announcements page please visit:

http://guides.instructure.com/s/2204/m/4212/l/76772-how-do-i-use-the-announcements-

index-page.

Your Modules You will be able to access your Modules via the menu on the left hand side of the screen. This

will take you to a page where you will be able to view all of your active modules for your course.

This includes any teaching material and assessments for that module.

Lectures

Your lectures will be accessed via the online platform and will be broken down week by week.

These will be provided in video format and will be accessible (and have parity) across a range of

devices noted in the minimum specification. A typical lecture will consist of a body of text

explaining the subject matter that week. The text will be complemented and amplified through

embedded video content, URL links and other media as appropriate. There will also be tasks and

additional reading associated with each lecture. It is envisaged that an interactive lecture of this

kind will require approximately two hours for a student to complete. Additionally, there will be

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real-time lectures and events that will operate within specific time parameters and will allow

students to interact with their tutor and peers in an online classroom.

Conferencing

Conferences make it easy to conduct real-time events and discussions within the course. This

functionality will be used within the following ways:

• Presentations

• 1-2-1s

• Guest Lectures

You may be invited to a course-wide or individual conference. If you would like to know how to

join conferences within the environment please view this article:

http://guides.instructure.com/s/2204/m/4212/l/119674-what-are-conferences-in-my-course.

Group Tutorials

Group tutorials will be delivered using the conference section within the environment. You will

receive an email notification when you have been invited to a conference. Where possible,

students will be given more than one option on group tutorials to accommodate different time

zones. The invitation will simply contain a link, which will take you directly to the tutorial. For

more information on how to access and join conferences please read this article:

http://guides.instructure.com/s/2204/m/4212/l/41982-how-do-i-join-a-web-conference.

Website

The delivery platform is supported by a frontend website. The frontend website provides

information to newly interested parties, whereas the delivery platform provides content,

communication and community integration to students enrolled on the course. DIME ONLINE

places a great emphasis on one-to-one consultation and guidance, which takes place via

messaging and conferencing within the delivery platform.

Career/further study opportunities

The BA(Hons) Creative Music Performance course will provide you with a diversity of

experiences and enable you to develop a strong skills base and theoretical underpinning. On

completion of the course you will have a varied portfolio of creative work and have an

understanding of how to develop your own unique approach to your specialism and apply this

into the wider industry. These will equip you well to identify, create and respond to the many

musical opportunities that exist throughout society.

Further career opportunities/destinations may include:

• Solo or ensemble/group performer

• Music entrepreneurship

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SECTION 3 – Teaching, Learning and Assessment

• Session playing

• Author of educational materials (e.g. books, DVDs, etc.)

• Product demonstrator

• Teaching

Further study opportunities include:

• Postgraduate Diploma or Master of Arts

• PGCHE (teaching course)

Educational Aims

The BA (Hons) Creative Music Performance award aims to equip and empower individuals with

specialist instrumental skills and techniques that engender the development of a creative and

individual approach in the performance and creation of music. The Creative Music Performance student will specialise in developing individual instrumental

skills and the constituent parts of performance with an emphasis on an individual approach to

the instrument. Students will perform as soloists or in bands, devise systematic and effective

practice routines and develop composing and general musicianship skills. Alongside the creative

development of instrumental technique, performance and composition skills, students will be

asked to reflect critically on their practice. Additionally, they will analyse the relevant repertoire

of artists who have established the vocabulary of the instrument and from whom they may

extract relevant concepts in the amalgamation and conceptualising of their own unique sound

and performance style. Further, the course is designed to equip students with essential time-management and

organisational skills that will enable effective use of their time through the use of strategic

planning. As the student engages with course, they will ultimately be expected to learn and

compose repertoire, be fluent and inventive as an improviser, reflect critically and demonstrate

an individual approach in sound and performance through the totality of their learning. BA(Hons) Creative Music Performance has the following awards aims, enabling you to:

1. Develop technical competence and fluidity of expression on the instrument

2. Develop the various elements of musicianship typified in professional performance

practice

3. Define and demonstrate in appropriate forms the conventions and vocabulary of

your instrument

4. Use relevant techniques and methods to explain and demonstrate the

interrelationships between theory and practice in music

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5. Generate ideas and construct arguments in both verbal and written form and to

evaluate such ideas and arguments critically

6. Evaluate processes and methodologies in your practice and apply appropriate

transferable skills to other creative and professional contexts

Learning Outcomes

Upon successful completion of this award, you should be able to:

1. Demonstrate a secure technical foundation and broad musical skills as typified by

industry professionals

2. Display core improvisational skills in performance at an appropriate level of study

3. Demonstrate an individual musical voice through expression, interpretive insight

and creativity in performance and improvisation

4. Define and apply a broad knowledge of relevant repertoire, styles, technologies

and skills to the discipline

5. Demonstrate knowledge of the music studied in the wider context of historical,

cultural and social practices relating to music performance, evaluating the

influence of context on industry practices.

6. Evidence imagination, creativity and technical skills in composition and arrangement

7. Gather and assimilate information and present work in oral and written form,

demonstrating skills in organisation, synthesis and critical evaluation as relevant

8. Work independently and in collaboration with others to complete projects,

applying critical self-awareness, teamwork and organisational skills as required

Teaching Strategy

The teaching strategies deployed within the award seek to reflect and apply the educational

philosophy of the institution and the rationale, aims and learning outcomes of the course. The

intention is to engage the active participation of a committed group of academic and technical

staff and students. The range of strategies is accessed through the online delivery platform and

aims to encourage the development of the critical practitioner and the production of a mature

body of work. Students at DIME ONLINE will benefit from the following modes of teaching:

• Collaboration within a global community, their regular interaction with peers and tutor

group will not be limited to geographical boundaries. • Substantial Weekly Lectures embedded into the delivery platform, featuring filmed

tuition from the very best artists from around the world, underpinned by video commentary and text from the academic Module Leader and Head of Department.

• Monthly Signpost Sessions delivered by the Head of Department and comprising of film

and text guidance on progression through the course, context, assessment, timing of feedback and providing inspiration and focus to the academic backbone of the course.

• Regular One-To-One Tutorial Guidance from the Head of Education and Head of Department on matters relating to the course, musical performance and student care.

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• Exclusive Master Classes from world famous artists comprising of bespoke filmed interviews and performances, angled towards supporting the learning aims of the

courses.

Assessment Strategy

Assessment offers students the opportunity to engage in an active learning process that; a)

confirms their achievement and b) provides them with feedback on their progress, including the

identification of strengths and weaknesses and an overall evaluation of their performance.

Assessment provides the course team with a means of offering students guidance in evaluating

their own progress, a means of offering students advice and guidance on their work, a means of

monitoring and evaluating the course and a basis for conferring the final award. Throughout the

practical elements of the course, you will continually engage with processes of peer and group

critique to allow you to develop a reflective and evaluative appreciation of your own practice.

The modes of assessment used in this award include:

• Single or multiple performances in solo and/or group contexts

• Portfolio of work (both performance and/or compositional)

• Small in-lecture tasks (solo and group)

• Case Studies

• Essays

• Project Presentation

• Project Documentation

In some cases, more than one mode of assessment will be used within a module to ensure that

the learner can demonstrate that they have met all of the learning outcomes. The work

produced for these assessments develops graduate outcomes required in employment, such as

a high level of performance competency, time management, written and oral communication,

portfolio production, and team working. This is alongside self-motivation, independence and

creativity of thought.

DIME ONLINE believes strongly in communicating regularly with students and providing

feedback on their assessed work that is constructive and timely. As a minimum, all students will

receive feedback on each individual module at the halfway stage through a formalised

formative assessment point. Additional feedback on the progression of work within modules

will be provided as appropriate by tutors on a week by week basis and will be available for you

to read on the Canvas platform as the modules progress. This type of feedback is designed to

support you in the ongoing development of your practice, providing information about how

your work is developing within specific modules, as well as giving the opportunity for

conversations about how you can continue to develop your practice in the future. Peer

feedback is highly valued within this process and provides additional support with

professional development. If you have any questions about feedback you should contact your

tutor or Head of Education in the first instance.

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The following are the time frames in which students can expect communication and feedback to

take place. Please note that these response times are indicative and may vary if there are

unforeseen circumstances such as staff illness or holiday periods.

1. Responses to general enquiries – two working days

2. Feedback on weekly tasks – five working days

3. Feedback on formative assessments – five working days

4. Feedback on summative assessments – fifteen working days

Because DIME ONLINE is a UK based organisation, a working day is defined as being from 9 am –

6 pm (GMT) Monday to Friday. Staff will generally make responses within the hours of a normal

working day. However, this may vary in some cases based on the availability of DIME ONLINE

staff outside of normal working hours.

Course Workload

The BA(Hons) Creative Music Performance course contains 360 credits across three levels of

academic study that are allocated in the following manner:

120 credits at Level 4



The following are the various ways students will engage with their course and an estimated

time that they should spend weekly in each area. Please note that the time spent in each area

will vary for each individual.

• Lectures (7-8 hours)

• Group seminars and workshops (2 hours)

• Tutorials (1 hour)

• Master-classes (1 hour)

• Assignment/task work (5-6 hours)

• Skill development/practice routine (14-15 hours)

• Additional reading and interests (4-5 hours)

• Networking (1-2 hours)

Weekly time commitment: 35 – 40 hours per week (full-time students)

SECTION 4 – Learning and Employability

Skills Development Strategies

Knowledge and Understanding You will draw on theoretical, practical and material knowledge and synthesise these to make new

work. Intellectual Skills To help with the development of this you will engage with and reference a variety of sources of

information in the development of your own ideas and work, making informed choices about

their validity and evidencing your decisions.

Practical Skills In addition to developing performance and composition skills and techniques, you will also

employ methods of research in relation to your own body of practice, evaluating materials,

processes and approaches and evidencing appropriate strategies in their communication and

creation. Transferable Skills You will engage and contribute to seminars and lectures, produce presentations – oral or written,

engage in group work, discuss your own and others’ practice and invoke modes of

communication that are appropriate for musical ideas.

Career Management Skills

During the course you will develop career management skills, which are integrated within the

processes of personalised learning for employability and the professional student. You will

undertake self-assessment to identify your strengths, interests and development needs in relation

to external criteria, under the guidance of an academic advisor. The process of assessment is

informed by staff and peer review of your work. Specific career management skills (for example,

effective and economical instrumental practice) are addressed in appropriately focused modules.

HEAR / Progress Files

All students are entitled to a transcript detailing the modules they have studied and the results given for those modules. The transcript is normally issued on completion of studies at the University.

Professional Standards

During the course of your study, you will be made aware of various professional bodies that may

be advantageous for your professional development.

Should students find themselves involved in working with children or young adults during their

course of study – whether on projects or placements – the University will guide them in acquiring

the necessary Criminal Records Bureau certification.

Level Module Code Module Name Credit Core Optional

(C) (O)

Assessment methods*

Contributing towards the Learning Outcomes (Taught (T), Practised (P) and/or Assessed (A))

1 2 3 4 5 6 7 8

4 DIMEO-P110 Technical Development I 20 C PF TPA TPA TPA

4 DIMEO-P120 Improvisation I 20 C PF TPA TPA TPA

4 DIMEO-P130 Artist Studies 20 C PF, CS TPA TPA TPA TPA

4 DIMEO-P140 Rhythm Studies 20 C PF, PR TPA TPA TPA

4 DIMEO-P160 Technical Development 2 20 C PF TPA TPA TPA

4 DIMEO-P170 Improvisation 2 20 C PF TPA TPA TPA

5 DIMEO-P210 Advanced Techniques I 20 C PF TPA TPA TPA

5 DIMEO-P220 Advanced Improvisation I 20 C PF TPA TPA TPA

5 DIMEO-P230 Artist Analysis 20 C PF, CS TPA TPA TPA TPA

5 DIMEO-P240 Composition and Arrangement 20 C PO, CE TPA TPA TPA

5 DIMEO-P250 Advanced Techniques 2 20 C PF TPA TPA TPA

5 DIMEO-P260 Advanced Improvisation 2 20 C PF TPA TPA TPA

6 DIMEO-P320 Applied Techniques 30 C PF TPA TPA TPA TPA

6 DIMEO-P310 Developing Your Own Style 30 C PF, ES TPA TPA TPA

6 DIMEO-035 Professional Practice Portfolio 20 C PO TPA TPA

6 DIMEO-P330 Solo Performance 40 C ES, PF TPA TPA TPA TPA TPA

Category Learning Outcomes 1 70%

2:1 60 – 69%

2:2 50 – 59%

3 40 – 49%

Fail Below 40%

01 Techniques

Demonstrate a secure technical foundation and broad musical skills as typified by industry professionals

Comprehensive knowledge and accomplished execution of a wide range of music techniques. Work demonstrates high levels of technical proficiency and professional musicianship. Consistently evidences a creative and innovative engagement in a range of complex situations.

Extensive working knowledge and execution of a range of music techniques. Work demonstrates high levels of technical proficiency and professional musicianship. Consistently evidences a creative engagement in a range of professional contexts.

Good working knowledge and execution of a range of music techniques. Work demonstrates robust and consistent levels of technical proficiency in professional contexts. Evidences a creative engagement appropriate to a range of industry contexts.

Adequate working knowledge and secure execution of a range of music techniques. Work demonstrates consistent levels of technical proficiency and professional musicianship. Evidences a creative engagement appropriate to established industry contexts.

Failure to achieve the learning outcomes at this time. Further work is needed in order to successfully engage with the techniques and industry standards. Some evidence of technical ability but poorly articulated. Work is below the threshold standard for the course.

02 Competency

Display core improvisational skills in performance at an appropriate level of study

Sophisticated performance and improvisation repertoire that is executed across a broad range of music genres and performance modes. Demonstrates significant development through the extension and synthesis of practice into new and unfamiliar territories.

Proficient performance and improvisation repertoire that is executed across a broad range of music genres and performance modes. Demonstrates consistent development of practice through the extension of skills base into new and unfamiliar territories.

Accomplished performance and improvisation repertoire that is executed across a range of music genres and performance modes. Demonstrates development of practice through the exploration of practice modes in unfamiliar territories.

Adequate performance and improvisation repertoire that is executed across a range of familiar music genres and performance modes. Demonstrates development of practice appropriate to the required level.

Failure to achieve the learning outcomes at this time. Improvisational skills are rudimentary and shows limited engagement with course materials. Further work is needed in order to develop the required skills to achieve the threshold standard.

03 Creative Engagement

Demonstrate an individual musical voice through expression, interpretive insight and creativity in performance and improvisation

Highly developed synthesis of discipline knowledge and instrument vocabulary in performance practice. Work is professional in its presentation and execution, utilising an innovative range of methods, techniques, and modes of presentation appropriate to performance practice.

Extensive synthesis of discipline knowledge and instrument vocabulary in expression of individual performance practice. Work is professional in its presentation and execution, utilising a range of creative methods, techniques, and modes of presentation.

Good synthesis of discipline knowledge and instrument vocabulary to convey the expression of individual performance practice. Work is competent in its execution, utilising a range of methods, formats, and modes of presentation appropriate to industry standards.

Adequate synthesis of key elements of discipline knowledge, approaches and techniques, to convey individual style in performance. Work is competent, using well-established processes and modes of presentation appropriate to industry standards.

Failure to achieve the learning outcomes at this time. Approaches to performance practice are at a basic level and require further development to meet the threshold standard.

04 Repertoires

Define and apply a broad knowledge of relevant repertoire, styles, technologies and skills to the discipline

Highly successful interpretation of concepts relevant to the discipline. Incorporates a highly creative approach that is self directed and professional in manner. Skills development is extensive with accomplished integration and presentation of discipline knowledge.

Accurate and well informed interpretation of concepts relevant to the discipline. Successfully incorporates a creative approach that is self directed and professional in manner. Skills development is consistent, with a good integration of discipline knowledge.

Good awareness of knowledge and concepts relevant to the discipline. Incorporates a creative approach that is largely self directed and professional in manner. Skills development is ongoing and evidenced productively at the appropriate levels.

Adequate awareness of key aspects of subject knowledge and accepted conventions relevant to the discipline. Incorporates a professional approach to ongoing skills development.

Failure to achieve the learning outcomes at this time. Lack of awareness of relevant subject knowledge and techniques and development of relevant skills would need to be addressed in order to reach the threshold standard.

05 Contexts

Demonstrate knowledge of the music studied in the wider context of historical, cultural and social practices relating to music performance, evaluating the influence of context on industry practices.

Independent critical engagement that demonstrates an extensive understanding of subject specific research and contexts. National and international contexts of the music industry are comprehensively understood and applied in written and practical work to a highly creative standard.

Articulate critical engagement that demonstrates a good understanding of subject specific research and contexts. National and international contexts of the music industry are fully understood and applied in written and practical work to a professional standard.

Good critical engagement that demonstrates a clear understanding of subject specific contexts. National and international contexts of the music industry have been explored and the research applied in a range works.

Evidence of a sound critical engagement that demonstrates an adequate understanding of the key aspects of historical, cultural and social contexts relevant to the music industry.

Failure to achieve the learning outcomes at this time. Loose understanding wider music contexts that is unfocused and lacks critical awareness.

06 Composition

Evidence imagination, creativity and technical skills in composition and arrangement

Excellent development and application of compositional skills that are creatively expressed and clearly presented. Work is to a highly professional standard with a comprehensive understanding of a wide range of techniques and innovative modes of composition and arrangement.

Good development and application of compositional skills that are creatively expressed and clearly presented. Work is to a highly professional standard and demonstrates a substantial understanding of a range of techniques and modes of composition and arrangement.

Consistent development and application of compositional skills that are clearly presented. Work is to a professional standard and demonstrates an accurate understanding of appropriate techniques and modes of composition and arrangement.

Development and application of compositional skills are clearly presented. Work is to an adequate standard and demonstrates a clear understanding of appropriate techniques and modes of composition and arrangement.

Failure to achieve the learning outcomes at this time. Limited skills demonstrated in basic composition and arrangement techniques. Some subject engagement but not successfully evidenced at this time.

07 Research

Gather and assimilate information and present work in oral and written form, demonstrating skills in organisation, synthesis and critical evaluation as relevant

Independent critical evaluation and analysis supported by an extensive understanding of subject specific research. Research is applied across practical, written and oral submissions to a highly creative standard. A wide range of audiences are catered for in an appropriate and professional manner.

Practical and written work is critically engaged and informed by good application of evaluated subject-specific research and is accurately conveyed. A range of audiences are catered for in appropriate and well-considered modes.

Practical and written work is critically engaged and informed by good use of subject-specific research, generally competently executed. A number of audiences are catered for in appropriate and well-considered modes.

Practical and written work demonstrates some critical engagement and while accurate uses subject-specific research that is from readily available sources. A number of audiences are catered for in appropriate modes that would benefit from further consideration.

Failure to achieve the learning outcomes at this time. Some evidence of research but remains unstructured and loosely assembled. Academic standards for the submission of work have not yet been attained.

08 Professional practice

Work independently and in collaboration with others to complete projects, applying critical self-awareness, teamwork and organisational skills as required

Extensive ability to self-direct, collaborate and work effectively in a professional manner. Uses sound judgment to advance professional practice and skills as an individual, taking full responsibility for learning requirements. Professional project management skills are consistently demonstrated.

Works professionally both independently and in collaboration, in a number of professional contexts. Systematically builds upon strengths in professional practice while identifying inhibiting factors that can be mitigated. Good project planning skills are consistently demonstrated.

Works productively both independently and in collaboration, in a number of professional contexts. Builds upon strengths in professional practice while identifying inhibiting factors that can be mitigated. Productive project planning skills are consistently demonstrated.

Works well both as an individual and as part of a team. Demonstrates a clear ability to adapt to a number of contexts in a professional manner by applying appropriate project planning skills.

Failure to achieve the learning outcomes at this time. Sporadic planning inhibits the ability to self-direct and motivate. Incomplete awareness of strengths and weaknesses in approach has meant contributions to projects have been only been partially successful.

Work assessed below 25% indicates that little information was provided with no evidence of awareness of industry standards and practices. Practical work (including presentations) was ineffective in its use of visual, written, oral and performance skills. Written work submitted was poorly articulated with insufficient research references provided. Worked Marked above 85% indicates an exemplary engagement with course material and creative contributions to the field through innovative practice. Practical and written work has demonstrated a comprehensive engagement with both core materials and beyond. Professional standards have been met and exceeded and the work is highly commended for doing so.

Module Information Form (MIF)

Module Name Technical Development I

Module Code SRIT to establish coding protocol DIMEO-P110

Level (FHEQ) and Stage eg Level 4, Stage 1 Level 4, Stage 1

Credit Value 20 credits

Pre and Co-requisites Indicate module name, codes will be inserted later

None

Compulsory or Option Compulsory

Named Module Leader Martin Goulding


Mode(s) of Delivery eg 1 x 2hr seminar, weekly for 13 weeks

Indicatively, this module will consist of: • 26 hours of lectures (13 x 2.0 hours) • Small groups/individual tutorials (7.5 hours) • Peer chat groups/master-classes (7.5 hours)

25

Summary Module Description

This module aims to introduce you to the fundamental concepts and methodologies that underpin technical development in the context of your principal study instrument. The skills and vocabulary learned in this module will aid you within other performance-related contexts throughout the course and will prepare you for the lecture content in Technical Development II that follows in Trimester 2. The technical concepts explored will directly inform other areas of study and you will therefore find an intrinsic interconnectivity between the study of technique, improvisation, rhythm and artist studies. Whilst the majority of the techniques and technical theories encountered will be in the context of your principal study instrument, you are also encouraged to identify broader applications for the content studied.

Throughout the module, you will be expected to initiate and maintain a self-directed and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for both your practical and theoretical development as a musician. You will be responsible for motivating yourself to research and develop subject matter beyond the lessons in a pursuit to acquire depth of understanding within the subject area. In doing so, you will enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. A systematic approach to time and project management will be essential to your studies and you will also be encouraged to utilise relevant technology, software, apps and platforms to assist in the organisation of your learning and development. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

26

Aims Maximum of 3

The aim of this module is to enable you to: • Develop core technical competence on your

instrument • Understand how core technical vocabulary can

inform creative performance • Apply the conventions and vocabulary of the

instrument into a wider musical context

Core Learning Outcomes

LO On completion of this Module you should be able to:

Assessment Criteria To achieve the learning outcome you must demonstrate the ability to:

1

Demonstrate an understanding of core

technical skills and devices specific to

the discipline in the context of

performance

(Creative Music Performance 1)

Present and perform a range of specialised

isolated technical exercises

3

Display elements of creativity and

expression during technically-driven

performance


Utilise technically-appropriate language during

genre-specific improvisation

4 Demonstrate an awareness of the

broader musical context in which

technical concepts may be applied


Demonstrate the ability to select or omit

appropriate technical devices in the context of

genre-specific improvisation-based

performance.

27

Skills Development

Knowledge and Understanding • You will gain an understanding of the vocabulary and

conventions used to underpin the study of technical

development.

• You will explore foundational core concepts that are critical

to the study of technical development.

Intellectual Skills • You will have an opportunity to develop and apply relevant

cognitive and analytical skills when engaging with the

theory and philosophy of technical development.

Practical Skills • You will develop the ability to apply foundational technical

development concepts and theory to your instrument.

• You will develop their skills with regards to identifying

language and theory that carry technical implications when

engaging with lead sheets, transcriptions, scores and

recordings. Transferable Skills • You will have the opportunity to develop a creative and

integrative approach to study, in which intellectual study

and practical application are weighted equally.

28

Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit an 8-10 minute filmed

performance demonstrating:

• A range of isolated technical exercises that

highlight the core concepts underpinning the

module.

• Application of technical concepts in the context of

a pre-agreed genre-specific performance.

The ‘pre-agreed’ performance will allow you to integrate

technical vocabulary in a contextually-relevant manner. The

repertoire will be agreed with your tutor during the trimester. Summative assessment will occur at the end of Trimester 1,

with formative assessment taking place at the mid-way point of

the module (week 8). Feedback from weekly technical tasks will

enable you to adjust and improve aspects of your playing on a

frequent and regular basis. The following aspects of performance will be taken into

consideration:

• Timing

• Tuning

• Accuracy of execution

• Sound and tonal production

• Fluency of phrasing

• Consistency of delivery

• Appropriateness of decision-making in the context of

performance

• Creative intention and use of concepts and vocabulary

No Assessment

Method Description of

Assessment Method % Compulsory or

compensatable Learning Outcomes

Assessed

1 3 4

1 PF Performance 100 Compulsory X X X

29

*The following codes for assessment methods apply:-

AR artefact OR oral

CB computer-based PC practical

CE critical evaluation PF performance

CS case study PL placement

DI dissertation or project PO portfolio

ES essay PR presentation

EX exam RE individual report

GR group report SP studio practice

IT in-module test LR literature review

JL journal/logbook OT other Indicative list of Resources

30

Books (electronic resource)

• Gallagher, Mitch (2012) Guitar Tone: Pursuing the Ultimate Guitar Sound. Course

Technology/Cengage Learning

• Sennett, Richard (2008) The Craftsman. Yale University Press

• Maran, Ruth (2005) Maran Illustrated Guitar. Course Technology/Cengage Learning

Journals (electronic resource)

• Guitar Player: New Bay Media LLC. [available via International Index of Music Periodicals (Jan 1993 Vol. 27, no.1 – present, with some exceptions)]

• Guitarist: Future Publishing Ltd. (small selection of articles available via Rock’s Backpages)

• Guitar World: New Bay Media LLC. [small selection of articles available via Rock’s Backpages]

• Modern Drumner: Modern Drummer Publishing. [available via One Stop Search]

• Total Guitar: Future Publishing Ltd. [small selection of articles available via Rock’s Backpages]

Further reading (unavailable in electronic form)

• Alexander, Joseph (2014) Complete Technique for Modern Guitar: 2nd Edition. CreateSpace Independent Publishing Platform

• Bruser, M (2000) The Art of Practicing. Hi Marketing

• Calva, R. (2003) Blues/Rock Soloing For Guitar: A Guide to the Essential Scales, Licks and Soloing Techniques. Musicians Institute.

• Capone, Phil (2009) 100 Killer Licks and Chops For Blues Guitar. Chartwell Books, Inc

• Cooley, Rusty (2013) Rusty Cooley’s Fretboard Autopsy: Scales, Modes & Melodic Patterns. Rock House.

• Cveji, Arko (2016) The Virtuoso as Subject: The Reception of Instrumental Virtuosity, c.1815 –c.1850

• Dupree, C. (2009) Rhythm and Blues Guitar. Hal Leonard.

• Ed, Soph (1993) Essential Techniques for Drum Set: Book 1. Limelight Editions

• Ganapes, J. (2000) Blues Licks You Can Use: Tips for performance. Hal Leonard

• Gordon, Stewart (2006) Mastering the Art of Performance. Oxford University Press

• Hill, D. (2011) The Guitar Lick-tionary Pub. Musicians Institute.

• Klickstein, Gerald (2009) The Musician’s Way: A Guide to Practice, Performance and Wellness. Oxford University Press

• Leonard, Hal (2000) Blues Guitar Bible. Hal Leonard.

• McGill, T.S. (2007) The Guitar Arpeggio Compendium Marlton. Uniblab Publishing.

• Morenga, M. (2006) Guitar Springboard: Chords For All Occasions. Wise Publications.

• Nolan, N. & Gill, D. (1999) Rock Lead Performance: Techniques, Scales and Soloing Techniques. Musicians Institute.

31

• Pratt, Simon (2016) The Guitar Finger-Gym: Build Stamina, Coordination, Dexterity and Speed on the Guitar. Fundamental-cchanges.com

• Provost, Richard (1994) The Art and Technique of Performance. Guitar Solo Publications

• Rink, John (2002) Musical Performance: A Guide to Understanding. Cambridge

Univeristy Press

• Rossett I Llobet, Jaume (2007) The Musician’s Body: A Maintenance Manual for Peak Performance. Ashgate

• Williamon, Aaron (2004) Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford University Press

• Wine, T. (2003) 1001 Blues Licks. Hal Leonard Corporation.

32

Section 4 – Administrative Information

Subject Music

Course BA(Hons) Creative Music Performance

Department AMATA

Version 1

Date of production of MIF (dd/mm/yyyy) 09/06/2017

Named Awards – Indicate below all Awards where this is a compulsory or option Module (*delete as

appropriate)

BA(Hons) Creative Music Performance Compulsory

33


Module Name Improvisation I





None





Trimester 1 Indicatively, this module will consist of:

• 26 hours of lectures (13 x 2.0 hours) • Small groups/individual tutorials (7.5 hours) • Peer chat groups/master-classes (7.5 hours)

34

Summary Module Description (100 – 150 words)

This module aims to introduce you to the fundamental concepts of harmonic, melodic and rhythmic vocabulary for the purpose of engaging in instrumental improvisation. You will be introduced to concepts, ideas and conventional devices designed to provide you with a solid foundation for further study in the discipline. The skills and vocabulary learned in this module will be applied within other performance-related contexts throughout the course. Much of the content that you will study is also designed to complement your technical development studies on your principal study instrument, however it should be noted that the concepts at the heart of Improvisation also apply to a far broader range of performance and composition contexts as they are, in most instances, non-instrument-specific (composition, arranging, production). Throughout the module, you will be expected to initiate and maintain a self-directed and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for both your practical and theoretical development as a musician. You will be responsible for motivating yourself to research and develop subject matter beyond the lessons in a pursuit to acquire depth of understanding within the subject area. In doing so, you will enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. A systematic approach to time and project management will be essential to your studies and you will also be encouraged to utilise relevant technology, software, apps and platforms to assist in the organisation of your learning and development. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

35

Aims Maximum of 3

The aim of this module is to enable you to: • Develop core improvisational skills on your instrument • Understand core melodic, harmonic and rhythmic

vocabulary and related improvisation conventions that inform individual decision-making during improvisation performance contexts

• Apply improvisation conventions and vocabulary creatively in the context of genre-specific repertoire




2


improvisation skills and devices specific to


performance


Present and perform a range of specialised isolated

improvisation exercises

3 Display elements of creativity and

expression during improvisation


Combine melodic, harmonic and rhythmically

appropriate language during genre-specific

improvisation

4

Demonstrate an awareness of the broader

musical context in which improvisation

concepts may be applied (Creative Music

Performance 4)


appropriate improvisational devices in the context

of genre-specific improvisation-based performance.

36

Skills Development

Knowledge and Understanding • You will gain an understanding of the vocabulary and

conventions used in improvisation through the module

content.

• You will explore foundational core concepts that are critical

to the study of improvisation.


cognitive and analytical skills when engaging with the

theory and philosophy of improvisation.

Practical Skills • You will develop the ability to apply foundational

improvisation concepts and theory to your instrument.

• You will develop your skills with regards to identifying and

applying improvisation language and theory in context,

through engagement with lead sheets, transcriptions,

scores and recordings. Transferable Skills • You will have the opportunity to develop a creative and

integrative approach to study, in which intellectual study

and practical application are weighted equally.

37

Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit an 8-10 minute filmed


• A range of isolated improvisation exercises that


module.

• Application of improvisational concepts in the

context of a pre-agreed genre-specific

performance.

The ‘pre-agreed’ genre-specific performance will allow you to

integrate improvisation vocabulary in a contextually-relevant

manner. The repertoire will be agreed with your tutor during

the trimester. Summative assessment will occur at the end of Trimester 1,


the module (week 8). Feedback from weekly improvisation

tasks will enable you to adjust and improve aspects of your

playing on a frequent and regular basis. The following aspects of performance will be taken into

consideration:

• Timing

• Tuning






performance


No Assessment




Assessed

2 3 4


38


AR artefact OR oral









JL journal/logbook OT other

Indicative list of Resources

39


• Benson, Bruce Ellis (2003) The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press

• DeFrancesco, Joey (2004) Concepts for Improvisation. Hal Leonard



• Lena, Jennifer C (2012) Banding Together: How Communities Create Genres in Popular Music

• Levine, Mark (1995) The Jazz Theory Book. Sher Music

• Peters, Gary (2009) The Philosophy of Improvisation. University of Chicago Press


• Watson, Scott (2011) Using Technology to Unlock Musical Creativity. Oxford University Press


• Guitar Player: New Bay Media LLC. [available via International Index of Music Periodicals (Jan

1993 Vol. 27, no.1 – present, with some exceptions)]



• Modern Drummer: Modern Drummer Publishing. [available via One Stop Search]



• Amadie, Jimmy (1990) Jazz Improv: How to Play It and Teach It: A Unique Method for Improvisation. Thornton Publications

• Bailey, Derek (1993) Improvisation: Its Nature and Practice in Music. DaCapo Press



• Cooley, Rusty (2013) Rusty Cooley’s Fretboard Autopsy: Scales, Modes & Melodic Patterns.

Rock House.

• Crook, Hal (1993) How To Improvise. Advance Music



• Haerle, Dan (1983) Scales for Jazz Improvisation: A Practice Method for All Instruments. Non

Basic Stock Line





• Nolan, N. & Gill, D. (1999) Rock Lead Performance: Techniques, Scales and Soloing Techniques.

Musicians Institute.

• Rose, Simon (2017) The Lived Experience of Improvisation: In Music, learning and life. University of Chicago Press

40

• Sarath, Ed (2010). Music Theory Through Improvisation: A New PProach to Musicianship Training. Routledge

• Stewart, Dave (1999). Inside The Music. Miller Freeman



Subject Music


Department AMATA

Version 1



appropriate)


41


Module Name Rhythm Studies





None


Named Module Leader Paul Elliott





42


The Rhythm Studies module provides you with the opportunity to study Rhythm as a concept fundamental to Performing Arts. A cross-cultural and critical approach will be adopted as you identify and develop core rhythmic ideas across a range of, primarily, western musical genres. The subject matter addressed throughout this module will support the development of your individual instrumental practice and will inform directly your technical development and improvisation studies.

In addition to learning the specific content throughout the module, you will be encouraged to develop an approach to individual learning and practice for the purpose of enhancing your technical abilities and progression as a creative musician. Throughout the module, you will be expected to initiate and maintain a self-directed and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for both your practical and theoretical development as a musician. You will be responsible for motivating yourself to research and develop subject matter beyond the lessons in a pursuit to acquire depth of understanding within the subject area. In doing so, you will enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. A systematic approach to time and project management will be essential to your studies and you will also be encouraged to utilise relevant technology, software, apps and platforms to assist in the organisation of your learning and development. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

43

Aims Maximum of 3

The aim of this module is to enable you to: • Develop core rhythmic vocabulary and skills on your

instrument • Apply rhythmic vocabulary and skills creatively in the

context of genre-specific repertoire • Understand concepts relating to the study of Rhythm

and how these can be used to inform individual practice




1


rhythmic concepts and devices specific to


performance



rhythmic exercises

3

Display elements of creativity and

expression when utilising rhythmic

language in the context of performance


Select and utilise relevant and appropriate rhythmic

vocabulary during the performance of genre-

specific repertoire

4

Demonstrate an awareness of rhythm in a

broader musical context and the

application of rhythmic language relevant

to the discipline


Identify and describe how rhythmic concepts can be

appropriated and contextualised in a wider musical

context

44

Skills Development

Knowledge and Understanding • You will gain an understanding of rhythmic vocabulary and

skills through the module content.

• You will gain an appreciation and awareness of Rhythm as

a broader concept, beyond the instrument. Intellectual Skills • You will have an opportunity to analyse and dissect subject

matter for the purposes of contextual understanding and

practical performance.

Practical Skills • You will develop the ability to demonstrate and perform

instrument-specific rhythmic vocabulary, both in isolation

and during performance.

Transferable Skills • You will have the opportunity to develop a personalised

and creative approach to your area of specialism and will

employ effective time management skills in the planning,

practice and preparation for the assessment.

45

Assessment Strategy

Summative assessment (Submission of filmed performance)

The achievement of learning outcomes is assessed through the

submission of 2 assessment elements: a filmed performance

and filmed presentation.

Element 1: Filmed Performance

You will be asked to submit a 6-8 minute filmed performance

demonstrating:

• A range of isolated rhythmic exercises that


module.

• Application of rhythmic concepts and vocabulary in

the context of a pre-agreed genre-specific

performance.

The following aspects of performance will be taken into

consideration:

• Timing

• Tuning






performance


Element 2: Filmed Presentation You will be required to submit a filmed presentation in which

you identify, describe and demonstrate the rhythmic concepts

and vocabulary chosen and employed for the purposes of the

pre-agreed genre-specific performance (as per element 1 – see

above).

Summative assessment will occur at the end of Trimester 1,


the module (week 8). Feedback from weekly tasks will enable

46

you to adjust and improve aspects of your playing on a

frequent and regular basis.

No Assessment



compensatable Learning Outcomes Assessed

1 3 4

1 PF Performance 60 Compensatable X X

2 PR Presentation 40 Compensatable X


AR artefact OR oral

47











48


. Abel, Mark. (2014) Groove: An Aesthetic of Measured Time. Leiden, Netherlands: Brill

. Danielsen, Anne. (2010) Musical Rhythm in the Age of digital Reproduction. Ashgate

. Fernandez, Raul A. (2005) From Afro-Cuban Rhythms to Latin Jazz. University of California

Press

. Mamadou, Diouf (2010) Rhythms of the Afro-Atlantic World: Rituals and Renmembrances. University of Michigan Press

. Peterson, Peter. (2013) Music and Rhythm: Fundamentals, History, Analysis. Frankfurt am

Main

. Tagg, Philip. (2012) Music’s Meanings: A Modern Musicology for Non-Musos. MMM


. Guitar Player: New Bay Media LLC. [available via International Index of Music Periodicals (Jan


. Guitarist: Future Publishing Ltd. (small selection of articles available via Rock’s Backpages)

. Guitar World: New Bay Media LLC. [small selection of articles available via Rock’s Backpages]

. Modern Drummer: Modern Drummer Publishing. [available via One Stop Search]

. Total Guitar: Future Publishing Ltd. [small selection of articles available via Rock’s Backpages]

. Further reading (unavailable in electronic form) �

• Bellson, L. (2000) Modern Reading Text in 4/4. Belwin Mills Publishing Corp. �

• Bergonzi, Jerry (1998) Inside Improvisation Series for all Instruments: Vol 4. Melodic Rhythms. �Advance Music. �

• Buckingham, Bruce.(1998) Rhythm Guitar: The Complete Guide. Hal Leonard. �

• Fox, Dan (2002) The Rhythm Bible. Alfred Music �

• Magadini, P, (1993) Polyrhythms – The Musician’s Guide. 2nd Edn. Hal Leonard

Corpoation. �

49


Subject Music


Department AMATA

Version 1

Date of production of MIF (dd/mm/yyyy) 06/17


appropriate)


50


Module Name Technical Development 2





None







51


This module is aimed at enabling you to use and apply technical language in practice through a range of established genre contexts. Through a critical exploration of the relationship between technique and genre conventions in western popular music, you will develop practical skills, ideas and discipline-specific conventions designed to illuminate the transition between theoretical understanding and practical application. Though brief consideration will be afforded to alternative and avant-garde sub-genres, the primary focus will be on understanding the placement and creative application of technical concepts within core contemporary genres that, to this day, shape audience perception of contemporary music. You may observe a degree of interconnectivity in relation to the subject matter of this module and others on the programme; this is to embraced and built upon. Throughout the module, you will be expected to initiate and maintain a self-directed and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for both your practical and theoretical development as a musician. You will be responsible for motivating yourself to research and develop subject matter beyond the lessons in a pursuit to acquire depth of understanding within the subject area. In doing so, you will enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. A systematic approach to time and project management will be essential to your studies and you will also be encouraged to utilise relevant technology, software, apps and platforms to assist in the organisation of your learning and development. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

52

Aims Maximum of 3

The aim of this module is to enable you to: • Develop genre-specific practically-focused technical

skills on your instrument • Understand the relationship between technical

language and genre-specific conventions • Apply technical conventions and vocabulary creatively

across a range of genre-specific contexts




1

Demonstrate a detailed understanding of

technical skills and devices specific to the

discipline in the context of performance



technical exercises

3

Display a consistent and integrated level of

creativity and personal expression in the

context of technically-driven performance


Utilise instrument-specific technical vocabulary

during the performance of genre-specific repertoire

4

Demonstrate a sensitivity and

understanding of the broader musical

context in which technical concepts may

be applied



appropriate technical devices, in accordance with

established stylistic conventions, in the context of a

range of genre-specific performances

53

Skills Development

Knowledge and Understanding • You will gain an understanding of specific technical

conventions and devices that are utilised according to

genre-specific demands.

• You will explore performer-orientated skills that are critical

to the successful application of technical theory to one’s

instrument.


cognitive and analytical skills when scrutinising the extent

to which technical theory aligns with practice.

Practical Skills • You will develop the ability to apply practical technical skills

to their instrument.

• You will develop their skills by engaging with lead sheets,

transcriptions, scores and recordings. Transferable Skills • You will have the opportunity to develop skills relating to

the distilling, reduction and appropriation of theoretical

concepts for the purposes of practical application.

54

Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit a 10-12 minute filmed




module.

• Application of technical language, concepts and

skills in the context of two pre-agreed and

contrasting genre-specific performances.

The two ‘pre-agreed’ and contrasting genre-specific

performances will allow you to demonstrate your depth of

understanding in relation to how technique is approach in

practice, when adhering to genre norms and conventions. The






consideration:

• Timing

• Tuning






performance


No Assessment




Assessed

1 3 4


55


AR artefact OR oral











56




• Sennett, Richard (2008) The Craftsman. Yale University Press







• Modern Drumner: Modern Drummer Publishing. [available via One Stop Search]



• Alexander, Joseph (2014) Complete Technique for Modern Guitar: 2nd Edition. CreateSpace

Independent Publishing Platform

• Bruser, M (2000) The Art of Practicing. Hi Marketing




Rock House.

• Cveji, Arko (2016) The Virtuoso as Subject: The Reception of Instrumental Virtuosity, c.1815 –c.1850


• Ed, Soph (1993) Essential Techniques for Drum Set: Book 1. Limelight Editions


• Gordon, Stewart (2006) Mastering the Art of Performance. Oxford University Press


• Klickstein, Gerald (2009) The Musician’s Way: A Guide to Practice, Performance and Wellness. Oxford University Press






• Pratt, Simon (2016) The Guitar Finger-Gym: Build Stamina, Coordination, Dexterity and Speed on the Guitar. Fundamental-cchanges.com

• Provost, Richard (1994) The Art and Technique of Performance. Guitar Solo Publications

• Rink, John (2002) Musical Performance: A Guide to Understanding. Cambridge Univeristy Press

57

• Rossett I Llobet, Jaume (2007) The Musician’s Body: A Maintenance Manual for Peak Performance. Ashgate

• Williamon, Aaron (2004) Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford University Press


58


Subject Music


Department AMATA

Version 1



appropriate)


59


Module Name Improvisation 2





None

x Compulsory






60


This module is aimed at helping you to apply improvisation concepts and acquired vocabulary creatively in the context of performance. You will therefore be introduced to practical skills, ideas and discipline-specific conventions designed to illuminate the transition between theoretical understanding to practical application. This module will require you to use improvisational language (melodic, harmonic and rhythmic) in a range of established genre-specific contexts. In doing so, you will explore the relationship between improvisation and genre-specific conventions in western popular music. The emphasis in this module is on developing your understanding of improvisational theory and language in practice; specifically, in the context of established contemporary music genres. Though brief consideration will be afforded to alternative and avant-garde sub-genres, the primary focus will be on understanding the placement and creative application of improvisation concepts within core contemporary genres that, to this day, shape audience perception of contemporary music. Upon completion of the module, you will also possess a more thorough and critically-informed understanding of the various ways in which improvisational language and concepts are applied in practice by musicians, composers and producers. Throughout the module, you will be expected to initiate and maintain a self-directed and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for both your practical and theoretical development as a musician. You will be responsible for motivating yourself to research and develop subject matter beyond the lessons in a pursuit to acquire depth of understanding within the subject area. In doing so, you will enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. A systematic approach to time and project management will be essential to your studies and you will also be encouraged to utilise relevant technology, software, apps and platforms to assist in the organisation of your learning and development. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your

61

studies will be further enhanced by access to masterclass performances and materials.

62

Aims Maximum of 3

The aim of this module is to enable you to: • Develop genre-specific practically-focused

improvisation skills on your instrument • Understand the relationship between improvisation

language (melodic, harmonic and rhythmic) and genre-specific conventions

• Apply improvisation conventions and vocabulary creatively across a range of genre-specific contexts




2

Demonstrate a detailed understanding of

improvisation skills and devices specific to


performance



genre-specific improvisation exercises

3

Display a consistent and integrated level of

creativity and personal expression in the

context of improvisation


Merge melodic, harmonic and rhythmically

appropriate language during genre-specific

improvisation

4

Demonstrate a sensitivity and


context in which improvisation concepts

may be applied



appropriate improvisational devices, in accordance

with established stylistic conventions, in the

context of a range of genre-specific performances

63

Skills Development

Knowledge and Understanding • You will gain an understanding of specific conventions and

devices that are often utilised when improvisation is

encountered in genre-specific settings.

• You will explore performer-orientated skills that are critical

to the successful application of improvisation theory to

one’s instrument.


cognitive and analytical skills when scrutinising the extent

to which improvisation theory aligns with practice.

Practical Skills • You will develop the ability to apply practical improvisation

skills to your instrument.


applying the language and theory of improvisation in

genre-specific contexts, when engaging with lead sheets,

transcriptions, scores and recordings.

Transferable Skills • You will have the opportunity to develop skills relating to

the distilling, reduction and appropriation of theoretical

concepts for the purposes of practical application.

64

Assessment Strategy



• A range of isolated improvisation exercises that


module.

• Application of improvisational language, concepts

and skills in the context of two pre-agreed and

contrasting genre-specific performances.

The two ‘pre-agreed’ and contrasting genre-specific

performances will allow you to demonstrate your depth of

understanding in relation to how improvisation is approach in

practice, when adhering to genre norms and conventions. The






consideration:

• Timing

• Tuning






performance


No Assessment




2 3 4


65


AR artefact OR oral











66


• Benson, Bruce Ellis (2003) The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press

• DeFrancesco, Joey (2004) Concepts for Improvisation. Hal Leonard




• Levine, Mark (1995) The Jazz Theory Book. Sher Music



• Watson, Scott (2011) Using Technology to Unlock Musical Creativity. Oxford University Press









• Amadie, Jimmy (1990) Jazz Improv: How to Play It and Teach It: A Unique Method for Improvisation. Thornton Publications





Rock House.




• Haerle, Dan (1983) Scales for Jazz Improvisation: A Practice Method for All Instruments. Non

Basic Stock Line








67




68


Subject Music


Department AMATA

Version 1



appropriate)


69


Module Name Artist Studies





None







70


The Artist Studies module provides you with the opportunity to research the techniques, processes and repertoire of iconic artists as acknowledged within their specialist area. Students will adopt a horizontal approach focusing on breadth of research in order that a range of repertoire is analysed and explored. The research process will require students to show evidence of engagement with a wide and relevant range of resources and materials.

In addition to learning a representative portion of their repertoire, you will be asked to analyse and explain your chosen artist in such a manner that demonstrates a contextual understanding of the historical, social and cultural factors that have contributed towards the shaping of their unique sound and style. (Your lecturer or Module Leader must approve all choices of artists and repertoire).

Based on the results of your research and critical analysis you will be expected to relate and apply processes and techniques from selected artists to your own practice as a creative performer.

Throughout the module, you will be expected to develop a strategic approach for learning the requisite content that employs effective time management and organisational skills. You will also be encouraged to identify and draw links to other modules being studied in order to promote a holistic learning experience. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

Aims Maximum of 3

The aim of this module is to enable you to: • Identify and demonstrate instrument-specific

vocabulary and techniques derived from the study of selected iconic artists and their repertoire

• Explain the relationship between music and culture in order to explain and justify the key elements of an artist’s style and ‘sound’

• Apply the results of independent research and critical analysis to the development of your own individual practice


71



1

Demonstrate vocabulary and techniques

associated with relevant artists in the

context of performance


Perform repertoire that demonstrates an

understanding of the vocabulary and techniques

associated with the music-making process of iconic

artists

5

Display an awareness of music’s role,

function and purpose in the wider context

of historical, cultural and social practices


Provide a study of an iconic artist that examines

their work in the context of historical, social and

cultural factors

7 Document progress towards defined goals,

benchmarking against established artists

and practitioners (Creative Music

Performance 7)

Provide evidence of a sustained approach to

instrumental practice, in light of conclusions

derived from individual research into chosen artist

8

Create an effective strategy for personal

development based on research into

established artists, repertoire and

instrumental practitioners


Provide a personal practice-plan that highlights an

awareness of the impact on individual development

72

Skills Development

Knowledge and Understanding

Understanding of stylistic vocabulary and conventions of the

instrument as used by established and iconic artists to inform

performance.

Knowledge of the social, historical and culture factors that can

often influence composition and performance outcomes for

artists.

Understanding of how research into established practitioners,

repertoire and critical discourse can inform and contribute

towards personal creative development.

Intellectual Skills

The ability to undertake critical and contextual research.

The ability to derive relevant conclusions from research for the

purposes of applying to individual creative development.

Practical Skills

The learner will demonstrate the ability to perform chosen

repertoire that can be said to ‘capture’ a specific sound and

style.

Transferable Skills

The learner will have the opportunity to develop effective time

management skills, research based skills and self-directed

working. Specifically, the learner will focus on the ability to

scrutinise source material critically and, from this, derive

suitable and appropriate conclusions for application to

personal development.

73

Assessment Strategy

Summative assessment (Performance and Case Study)


submission of 2 assessment elements: a performance and a

case study.

Element 1: Performance

Submission of a 6-8 minute filmed performance demonstrating

an approved repertoire that highlights and captures the key

elements of an iconic artist’s performance style and ‘sound’.

The depth and scope of the proposed repertoire will be agreed

between you and tutor in advance.

Element 2: Case Study

Submission of a 1500-word case study containing the following

two components:

1. A critical study of the chosen artist and repertoire that

places both into the context of broader historical,

social and cultural factors demonstrating integrated

evidence of research

2. A practice plan identifying goals for further personal

development as a result of research into chosen artists

and repertoire and subsequent personal reflection.

The case study must include an appendix in which you are

required to attach evidence of a practice diary/timesheets

outlining your practice routine and progress towards the final

performance of element 1 (See above)


with formative assessment taking place at week 8.

74

No Assessment

Method

Description of

Assessment

Method %

Compulsory or


1 5 7 8

1 PF Performance 40 Compensatable X

2 CS Case Study 60 Compensatable X X X


AR artefact OR oral











75

Books (electronic resources)

• Crazy Horse, Kandida, (ed.) (2003) Rip It Up: The Black Experience in Rock ‘n’ Roll. Palgrave

MacMillan �

• Holt, Fabian (2007) Genre in Popular Music. Chicago University Press

• Inglis, Ian (2006) Performance and Popular Music: History, Place and Time. Ashgate

• Negus, Keith (1996) Popular Music in Theory: An Introduction. Cambridge: Polity Press

• Thompson, Gordon Ross (2008) Please Please Me: Change and Sixties British Pop. Oxford

University Press �

• Walser, Robert (1993) Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Wesleyan �

Journals (electronic resources)


1993 Vol. 27, no.1 – present, with some exceptions)] �

• Guitarist: Future Publishing Ltd. (small selection of articles available via Rock’s Backpages) �


• Modern Drummer: Modern Drummer Publications. [small selection of articles available via

One Stop Search]

• Negus, Negus (2012) Narrative, Interpretation and the Popular Song [The Music Quarterly

0027-4631] �

76

• Total Guitar: Future Publishing Ltd. [small selection of articles available via Rock’s �Backpages]�

Further reading (unavailable in electronic form) �

• Clapton, Eric (2008) Eric Clapton – The Autobiography. Arrow Books �

• Mairants, Ivor (2010) The Great Jazz Guitarists. SMT �

• Smeaton, Bob (2013) Jimi Hendrix – Hear My Train A’Comin’. BBC (DVD) �

• Tolinski, Brad (2012) Light and Shade – Conversations With Jimmy Page. Virgin Books �

• Trovato, S. (2008) Three Kings of Blues. Lick Library (DVD) �

• Van Der Merwe, Peter. (1989) Originsa of the Popular Style: the antecedents of twentieth-century popular music. Oxford: Clarendon

• Whiteley, Sheila (2005) Music, Space and Place: Popular Music and Cultural Identity. Ashgate

77


Subject Music


Department AMATA

Version 1



appropriate)


\

78


Module Name Advanced Techniques I





None







79


The Advanced Techniques module aims to introduce you to advanced concepts of technically-specific vocabulary necessary for the purpose of attaining a mature and assured standard of technical application during performance. In general, there will be greater emphasis on the application of the skills learned into a range of specialist and less-conventional genres or associated sub-genres. Specifically, you will be encouraged to consider the ways in which established and accepted technical concepts can be challenged, re-appropriated or modified to serve an original creative aim in a sub-genre or avant-garde setting.

Throughout the module, you will be expected to maintain a self-directed, consistent and strategic approach to your studies. Specifically, you will be required to develop a balanced and holistic appreciation for your practical and theoretical development as a musician, one that enables you to engage with micro and macro level concepts in detail. Through self-directed research, you will further develop as an autonomous learner: you will be encouraged to make decisions that will define your personal learning journey in relation to your creative and professional aims. Your approach to research, analysis and problem-solving will take you beyond the subject matter studied in lessons and will enable you to form personalised, reasoned and informed perspectives in your field of study based on the acquisition and synthesis of complex information. You will continue to enhance your ability to view topics in a critical manner, to identify conceptual threads and to seek out commonalities across subject domains. At all times, you will be encouraged to derive conclusions from your research that bear direct relevance to your own professional practice. Additionally, you will be encouraged to pro-actively seek out professional opportunities to aid your learning and experiential development.

80

Aims Maximum of 3

The aim of this module is to enable you to: • Develop advanced technical concepts and vocabulary

in the context of sub-genre/ avant-garde performance • Understand the application and manipulation of

conventional technical concepts and vocabulary in the context of alternative sub-genres and avant-garde music

• Apply and manipulate technical conventions and vocabulary creatively across a range of sub-genre and avant-garde performance contexts




1

Demonstrate a mature and informed

understanding of technical skills and

devices specific to the discipline in the




technical techniques

3

Display a consistent and embedded

undercurrent of creativity and personal

expression during technically-driven

performance


Identify and appropriate suitable and relevant

technical language during the performance of

alternative sub-genre or avant-garde repertoire

4

Demonstrate an advanced understanding

of the broader musical context into which

technical concepts may be applied



appropriate technical devices, in accordance with

established sub-genre and alternative stylistic

conventions

81

Skills Development

Knowledge and Understanding • You will gain an understanding of advanced technical

vocabulary and devices that are utilised according to the

sub-genre or avant-garde demands.

• You will explore concepts designed to introduce layers of

subtlety and nuance into performance.

• You will gain an understanding of the ways in which

conventional technical theory and concepts can be

subverted or modified to meet original creative aims.


cognitive and analytical skills when researching artists,

repertoire and advanced theory relevant to the field.

• You will have the opportunity to reflect upon the

application of advanced theory and skills in order to

achieve a mature and nuanced integration of technical

facility into performance.

Practical Skills • You will develop the ability to apply advanced theory and

concepts to their instrument.

• You will develop your skills in identifying technically-

focused language and theory in sub-genre-specific or

avant-garde contexts and applying this through

engagement with lead sheets, transcriptions, scores and

recordings. Transferable Skills • You will have the opportunity to develop skills relating to

the appreciation of micro and macro level conceptual

thinking.

82

Assessment Strategy





module.

• Application of technical language and concepts

and/or manipulation of these in the context of one

pre-agreed extended performance. This must

relate clearly to a sub-genre, avant-garde or

‘alternative’ category of music that allows for

departure from conventional technical norms.






consideration:

• Timing

• Tuning






performance


No Assessment




1 3 4



83

AR artefact OR oral











84


• Brown, David (2006) Noise Orders: Jazz, Improvisation and Architecture. University of

Minnesota Press



• George, Lewis (2008) A Power Stronger Than Itself: The AACM and American Experimental Music. University of Chicago Press








• Modern Drummer Modern Drummer Publishing [available via One Stop Search




• Blake, Ran (2011) Primacy of the Ear. Lulu



• Chapin, Jim (2005) Advanced Techniques for the Modern Drummer: Vol 1. Alfred Publishing


Rock House.

• De Almeida, Henrique (2011) Polyrhythmic Possibilities: Introduction to Advanced Rhythmic Concepts for the Drumset. CreateSpace Independent Publishing Platform.



• Goodrick, M with Metheny, P (1988) Advancing Guitarist – Applying Guitar Concepts and Techniques. Milwaukee: Hal Leonard Publications


• Langone, Steve (2014) Advanced Rhythmic Concepts for the Modern Drummer. CreateSpace




• Morello, Joe (1998) Master Studies. Hal Leonard




85

• Red, Ted (1997) Progressive Steps to Syncopation for the Modern Drummer. Alfred Music

Publishing

• Rivera, Jan (2014) Advanced Rhythmic Concepts for Guitar: An In-depth Study on Metric Modulation, Polyrhythms and Polymeters.


86


Subject Music


Department AMATA

Version 1



appropriate)


87


Module Name Advanced Improvisation I





None







88


The Advanced Improvisation module aims to introduce you to advanced concepts of harmonic, melodic and rhythmic vocabulary necessary for the purpose of attaining a mature and assured standard of instrumental improvisation. You will be introduced to specialised concepts, ideas and devices designed to equip you with options and routes for further advanced study, based on your creative preferences. In general, there will be greater emphasis on the application of the skills learned to a range of specialist and less-conventional genres or associated sub-genres. Specifically, you will be encouraged to consider the ways in which established and accepted concepts relating to the field of improvisation can be challenged, re-appropriated or modified to serve an original creative aim in a sub-genre or avant-garde setting.


89

Aims Maximum of 3

The aims of this module are to enable you to: • Develop advanced improvisational concepts and vocabulary in

the context of sub-genre/ avant-garde performance • Understand the application and manipulation of conventional

improvisation concepts and vocabulary in the context of alternative sub-genres and avant-garde music

• Apply and manipulate the conventions and vocabulary in improvisation creatively across a range of sub-genre and avant-garde performance contexts




2


understanding of improvisation skills and

devices specific to the discipline in the




improvisation techniques

3

Display a consistent and embedded

undercurrent of creativity and personal

expression during improvisation in the



Identify and appropriate suitable and relevant

melodic, harmonic and rhythmic language during

the performance of alternative sub-genre or avant-

garde repertoire

4

Demonstrate an advanced understanding

of the broader musical context into which

improvisation concepts may be applied



appropriate improvisational devices, in accordance

with established sub-genre and alternative stylistic

conventions

90

Skills Development

Knowledge and Understanding • You will gain an understanding of advanced vocabulary and

devices that are often utilised when improvisation is

encountered in sub-genre or avant-garde specific settings.

• You will explore concepts designed to introduce layers of

subtlety and nuance into performance.

• You will gain an understanding of the ways in which

conventional improvisation theory and concepts can be

subverted or modified to meet original creative aims.


cognitive and analytical skills when researching artists,

repertoire and advanced theory relevant to the field.

• You will have the opportunity to reflect upon the

application of advanced theory and skills to achieve a

mature and nuanced approach to improvisation.

Practical Skills • You will develop the ability to apply advanced theory and

concepts to their instrument.


applying improvisation language and theory in sub-genre-

specific or avant-garde contexts, through engagement with

lead sheets, transcriptions, scores and recordings.



thinking.

91

Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit a 12-14-minute filmed

performance demonstrating: • A range of isolated improvisation exercises that highlight

the core concepts underpinning the module.

• Application of improvisational language and concepts

and/or manipulation of these in the context of one pre-

agreed extended performance. This must relate clearly to a

sub-genre, avant-garde or ‘alternative’ category of music

that allows for departure from conventional

improvisational norms.






consideration:

• Timing

• Tuning






performance


No Assessment




2 3 4


*The following codes for assessment methods apply: -

92

AR artefact OR oral











93



Minnesota Press















• Bergonzi, Jerry (1992) Inside Improvisation Series for all instruments: Vol 1: Melodic Structure. Advance Music

• Bergonzi, Jerry (1994) Inside Improvisation Series for all instruments: Vol 2: Pentatonics. Advance Music

• Caines, Rebecca (2015) The Improvisation Studies Reader: Spontaneous Acts. Routledge




Rock House.




• Gendron, B (2002) Between Montmartre and the Mudd Club: Popular Music and the Avant Garde. University of Chicago Press

• Green, B. and Gallway, T. (1996) The Inner Game of Music. Doubleday

• Griffiths, P (1981) Modern Music: The Avant Garde Since 1945. J M Dent

• Grubbs, David (2014) Records Ruin the Landscape. Duke University Press




• Mehegan, J (1984) Tonal and Rhythmic Principles. Watson-Guptill Publications

94


• Nachmanovitch, Stephen (1990) Free Play: Improvisation in Life and Art. St Martin’s Press



• Peters, Gary (2017) Improvising Improvisation: From Out of Philosophy, Music, Dance and Literature. University of Chicago Press


• Saindon, Ed (2007) Advanced Rhythms in Improvisation. Advance Music Gmbh



• Werner, Kenny (1990) Effortless Mastery. Jamey Aebersold Jazz


• Wollner, Gertrude Price (1963) Improvisation in Music: Ways Toward Capturing Musical Ideas and Developing Them. Garden City, N.Y. Doubleday

95


Subject Music


Department AMATA

Version 1



appropriate)


96


Module Name Artist Analysis





None







97


The Artist Analysis module is centred upon the examination of techniques, processes and repertoire of iconic artists, as acknowledged within their area of specialism, with a specific emphasis being placed on analysis in the context of a narrowly-targeted and defined selection of repertoire; namely, a particular ‘body of work’ (e.g. – an album or extended composition) or repertoire derived from a precise period / time / location. Such a vertical approach will allow you the opportunity to focus your research and analysis on the depth and detail of the subject matter in question. The research process will require you to show evidence of engagement with a wide and relevant range of resources and materials.

In addition to learning a representative portion of the defined repertoire, you will be required to critically analyse and explain the individual components and traits that shape the identity of the music. You will be expected to make reference to specific historical, social and cultural factors that contributed towards the creation of the repertoire. (Your lecturer or Module Leader must approve all choices of artists and repertoire).

Based on the results of your research and critical analysis you will be expected to relate and apply processes and techniques from selected artists to your own practice as a creative performer.

Throughout the module, you will be expected to develop a strategic approach for learning the requisite content that employs effective time management and organisational skills. You will also be encouraged to identify and draw links to other modules being studied in order to promote a holistic learning experience. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials. studies will be further enhanced by access to masterclass performances and materials.

98

Aims Maximum of 3

The aim of this module is to enable you to: • Analyse and apply instrumental-specific vocabulary

derived from the study of selected iconic artists and their repertoire

• Explain the relationship between music and culture by identifying the key traits and details responsible for shaping a specific body of work

• Apply the results of independent research and self-reflection to the development of your own artistic voice




4

Apply stylistically-contextual vocabulary

and techniques associated with relevant

artists in the context of repertoire-specific

performance


Perform repertoire that demonstrates an

understanding of the stylistically-contextual

vocabulary and techniques associated with the

composition of stylistically-specific repertoire

5

Display an understanding of music’s

interconnected and complex role in the

wider context of historical, cultural and

social practices


Provide a study of iconic repertoire that examines

the artist and their work in the context of defined

historical, social and cultural factors

7

Document progress relating to your own

creative career journey, benchmarking

against established artists and

practitioners (Creative Music Performance

7)

Provide evidence of incremental and sustained

personal development and practice in light of

conclusions derived from individual research

8

Identify aims and objectives for the

development of your own artistic voice,

based on research into established artists,

repertoire and instrumental practitioners


Present outcomes derived from research into

established artists, repertoire and instrumental

practitioners for application to your individual

artistic journey

99

Skills Development


Understanding of stylistic vocabulary and conventions of the

instrument as used by established and iconic artists to inform

performance and composition in the context of a specific

period, body of work or phase of artistic development.

Knowledge of the social, historical and culture factors that can

often influence composition and performance outcomes for

artists.

Understanding of how research into established practitioners,

repertoire and critical discourse can inform and contribute

towards personal creative development.

Intellectual Skills

The ability to undertake critical and contextual research.

The ability to derive relevant conclusions from research for the

purposes of applying to individual creative development.

Practical Skills

The learner will demonstrate the ability to perform chosen

repertoire that can be said to ‘capture’ the specific traits that

are responsible for defining the performance/compositional

identity of a chosen artist and their work.

Transferable Skills


management skills, research based skills and self-directed

working. Specifically, the learner will focus on the ability to

scrutinise source material critically and, from this, derive

suitable and appropriate conclusions for application to

personal development.

100

Assessment Strategy

Summative assessment (Performance and Case Study)


submission of 2 assessment elements: a performance and a

case study.

Element 1: Performance

Submission of a 6-8 minute filmed performance demonstrating

an approved repertoire that embodies the key elements of an

iconic artist’s performance style as evident from either

a) A specific body of work

b) A specific period of the artist’s career

Element 2: Case Study

Submission of a 2000-word case study containing the following

two components:

• A critical study of the chosen artist and repertoire

that places both into the context of broader

historical, social and cultural factors demonstrating

integrated evidence of research

• A practice plan identifying goals for further

personal development as a result of research into

chosen artists and repertoire and subsequent

personal reflection.

The case study must include an appendix in which you are

required to attach evidence of a practice diary/timesheets

outlining your practice routine and progress towards the final

performance of element 1 (See above)


with formative assessment taking place throughout the

module.

101

No Assessment

Method

Description

of

Assessment

Method

%

Compulsory or


4 5 7 8

1 PF Performance 40 Compensatable X

2 CS Case Study 60 Compensatable X X X


AR artefact OR oral











102


• Bennett, Tony (ed.) (1993) Rock and Popular Music: Politics, Policies, Institutions. Routledge

• Faulkner, Robert R. (2009) Do You Know?: The Jazz Repertoire in Action. University of Chicago

Press

• Jeremy, Gilbert. (1999) Dance Music, Culture and the Politics of Sound. Routledge

• Katz, Mark (2012) Groove Music: The Art and Culture of the Hip-Hop DJ. Oxford University

Press

• Shuker, Roy (2013) Understanding Popular Music Culture. Routledge

• Whitely, Sheila (1992) Space Between the Notes: Rock and the Counter Culture. Routledge

Journals (electronic resource) �

• Fidyk, Steve. (2012) Buddy’s Best [available via Modern Drummer – One Stop Search]


1993 Vol. 27, no.1 – present, with some exceptions)] �

• Guitarist: Future Publishing Ltd. (small selection of articles available via Rock’s Backpages) �


• Modern Drummer: Modern Drummer Publications. [small selection of articles available via

One Stop Search]

• Total Guitar: Future Publishing Ltd. [small selection of articles available via Rock’s Backpages]�

103

Further reading (unavailable in electronic form) �

• Clapton, Eric (2008) Eric Clapton – The Autobiography. Arrow Books �

• Kortaba, Joseph A (2013) Understanding Society Through Popular Music. Routledge

• Mairants, Ivor (2010) The Great Jazz Guitarists. SMT �

• Richards, Keith (2010) Life. Weidenfeld and Nicolson

• Rüther, Tobias (2014) Heroes: David Bowie and Berlin. Reaktion Books

• Smeaton, Bob (2013) Jimi Hendrix – Hear My Train A’Comin’ (DVD) �

• Tolinski, Brad (2012) Light and Shade – Conversations With Jimmy Page. Virgin Book

• Townshend, Pete (2012) Who I Am. Harper �

• Van Der Merwe, Peter. (1989) Originsa of the Popular Style: the antecedents of twentieth-century popular music. Oxford: Clarendon

• Whiteley, Sheila (2005) Music, Space and Place: Popular Music and Cultural Identity. Ashgate

•

104


Subject Music


Department AMATA

Version 1



appropriate)


105


Module Name Advanced Techniques 2





None







106


This module is aimed at developing the application and integration of technique into your own creative ‘voice’. Specific emphasis in this module is placed upon the utilisation of technical theory and vocabulary to meet the demands and needs of creative performance and/or composition as defined by the artist. Thus, the focus will be on how, why and when to draw upon and utilise technical concepts in an appropriate and justifiable manner when performing original repertoire, either in solo or group contexts. Additionally, the module content will require you to question and challenge the extent to which technically-specific vocabulary and concepts play a role in your own composition and performance practices.


107

Aims Maximum of 3

The aim of this module is to enable you to: • Select and employ a range of technical concepts or

devices to serve your own creative aims • Understand the purpose, function and relevance of

technical language and vocabulary in the context of your own creative practice

• Integrate appropriate and meaningful technical concepts and devices into your composition and performance practice




1

Demonstrate a creative approach to the

use of technically-orientated exercises and

concepts specific to the discipline in

original performance contexts


Present and interpret a range of specialised isolated

technical exercises

3

Display a pre-considered and intentional

approach to creative application of ethical

language and personal expression in the



Locate and adopt relevant technical language to

suit the performance of original creative repertoire

4



context into which technical concepts may

be applied


Evidence a mature and nuanced application of

technical theory in application, in the context of

original creative practice

108

Skills Development

Knowledge and Understanding • You will gain an understanding of how technical theory and

concepts can be utilised to suit creative original needs.

• You will explore audience reception theories relating to the

perception of the artist’s creative ‘voice’.


cognitive and analytical skills when researching the creative

application of technical theory by artists and practitioners.

• You will have the opportunity to reflect upon your own

creative development and artistic growth.

Practical Skills • You will develop the ability to identify relevant technical

theory and concepts during the composition or arranging

process.

• You will develop the ability to select and apply appropriate

technical theory and concepts to suit individual artistic

needs. Transferable Skills • You will have the opportunity to develop skills relating to


thinking.

109

Assessment Strategy



• Creative interpretation of a range of isolated

technical exercises (e.g. scales, arpeggios and

chord sequences) that highlight the core concepts

underpinning the module.

• Selection and application of technical concepts and

skills in the context of one pre-agreed performance

of technically-driven original repertoire.


with formative assessment taking place at the mid-way point

of the module (week 8). Feedback from weekly technical tasks

will enable you to adjust and improve aspects of your playing

on a frequent and regular basis. The following aspects of performance will be taken into

consideration:

• Timing

• Tuning






performance


No Assessment

Method

Description of

Assessment

Method %

Compulsory or


1 3 4



110

AR artefact OR oral











111



Minnesota Press











• Modern Drummer Modern Drummer Publishing [available via One Stop Search




• Blake, Ran (2011) Primacy of the Ear. Lulu



• Chapin, Jim (2005) Advanced Techniques for the Modern Drummer: Vol 1. Alfred Publishing


Rock House.

• De Almeida, Henrique (2011) Polyrhythmic Possibilities: Introduction to Advanced Rhythmic Concepts for the Drumset. CreateSpace Independent Publishing Platform.



• Goodrick, M with Metheny, P (1988) Advancing Guitarist – Applying Guitar Concepts and Techniques. Milwaukee: Hal Leonard Publications


• Langone, Steve (2014) Advanced Rhythmic Concepts for the Modern Drummer. CreateSpace




• Morello, Joe (1998) Master Studies. Hal Leonard




112

• Red, Ted (1997) Progressive Steps to Syncopation for the Modern Drummer. Alfred Music

Publishing

• Rivera, Jan (2014) Advanced Rhythmic Concepts for Guitar: An In-depth Study on Metric Modulation, Polyrhythms and Polymeters.


113


Subject Music


Department AMATA

Version 1



appropriate)


114


Module Name Advanced Improvisation 2





None







115


This module is aimed at developing your creative ‘voice’ as an improviser. Specific emphasis in this module is placed upon the utilisation of improvisation theory and vocabulary to meet the demands and needs of creative performance and/or composition as defined by the artist. Thus, the focus will be on how, why and when to draw upon and utilise improvisational concepts in an appropriate and justifiable manner when performing your own original repertoire, either in solo or group contexts. Additionally, the module content will require you to question and challenge the extent to which improvisation-specific vocabulary and concepts play a role in your own composition and performance practices.


116

Aims Maximum of 3

The aim of this module is to enable you to: • Select and employ a range of improvisational

concepts or devices to serve your own creative aims • Understand the purpose, function and relevance of

improvisation language and vocabulary in the context of your own creative practice

• Integrate appropriate and meaningful improvisation concepts and devices into your composition and performance practice




2

Demonstrate a creative approach to the

use of improvisation-based exercises and

concepts specific to the discipline in

original performance contexts


Present and interpret a range of specialised isolated

improvisation exercises

3

Display a pre-considered and intentional

approach to creative application of

improvisational language and personal

expression in the context of performance


Locate and adopt relevant melodic, harmonic and

rhythmic language to suit the performance of

original creative repertoire

4



context into which improvisation concepts

may be applied


Evidence a mature and nuanced application of

improvisational theory in application, in the context

of original creative practice

117

Skills Development

Knowledge and Understanding • You will gain an understanding of how improvisation

theory and concepts can be utilised to suit creative original

needs.

• You will explore reception theory relating to audience

perception of the artist’s creative ‘voice’.


cognitive and analytical skills when researching the creative

application of improvisation theory by artists and

practitioners.

• You will have the opportunity to reflect upon their own

creative development and artistic growth.

Practical Skills • You will develop the ability to select appropriate

improvisation theory and concepts to suit personal artistic

needs.

• You will develop the ability to identify improvisation theory

and concepts during the composition or arranging process.



thinking.

118

Assessment Strategy



• Creative interpretation of a range of isolated

improvisation exercises (e.g. scales, arpeggios and

chord sequences) that highlight the core concepts

underpinning the module.

• Selection and application of improvisation

concepts and skills in the context of one pre-

agreed performance of improvisation-centric

original repertoire.


with formative assessment taking place at the mid-way point

of the module (week 8). Feedback from weekly technical tasks

will enable you to adjust and improve aspects of your playing

on a frequent and regular basis. The following aspects of performance will be taken into

consideration:

• Timing

• Tuning






performance


No Assessment




2 3 4



119

AR artefact OR oral











120



Minnesota Press















• Bergonzi, Jerry (1992) Inside Improvisation Series for all instruments: Vol 1: Melodic Structure. Advance Music

• Bergonzi, Jerry (1994) Inside Improvisation Series for all instruments: Vol 2: Pentatonics. Advance Music

• Caines, Rebecca (2015) The Improvisation Studies Reader: Spontaneous Acts. Routledge




Rock House.




• Gendron, B (2002) Between Montmartre and the Mudd Club: Popular Music and the Avant Garde. University of Chicago Press

• Green, B. and Gallway, T. (1996) The Inner Game of Music. Doubleday

• Griffiths, P (1981) Modern Music: The Avant Garde Since 1945. J M Dent

• Grubbs, David (2014) Records Ruin the Landscape. Duke University Press




• Mehegan, J (1984) Tonal and Rhythmic Principles. Watson-Guptill Publications

121


• Nachmanovitch, Stephen (1990) Free Play: Improvisation in Life and Art. St Martin’s Press



• Peters, Gary (2017) Improvising Improvisation: From Out of Philosophy, Music, Dance and Literature. University of Chicago Press


• Saindon, Ed (2007) Advanced Rhythms in Improvisation. Advance Music Gmbh



• Werner, Kenny (1990) Effortless Mastery. Jamey Aebersold Jazz


• Wollner, Gertrude Price (1963) Improvisation in Music: Ways Toward Capturing Musical Ideas and Developing Them. Garden City, N.Y. Doubleday

122


Subject Music


Department AMATA

Version 1



appropriate)


123


Module Name Composition and Arrangement





None


Named Module Leader Jon Bishop





124


The Composition and Arrangement module provides you with the opportunity to study theories, concepts and techniques that are relevant to composing and arranging original music. You will be taught specific theoretical and creative devices designed to aid you in the development of your own individual compositional style. Content studied, though rooted in contemporary music, will also draw upon established western classical conventions enabling you to contextualise and frame your studies in a broad and critical manner.

You will be asked to provide critical analysis of how you have related and applied concepts studied to your own compositional process. Thus, this module aims to promote an equitable approach to the study of ‘process’ and the creation of ‘product’.

Throughout the module, you will be expected to develop a strategic approach for learning the requisite content that employs effective time management and organisational skills. You will also be encouraged to identify and draw links to other modules being studied in order to promote a holistic learning experience. Lecture content will be supported by tutorials with your subject tutor and engagement or collaboration with your peer community. Your studies will be further enhanced by access to masterclass performances and materials.

Aims Maximum of 3

The aim of this module is to enable you to: • Develop skills in the area of music composition • Analyse established theoretical concepts

underpinning the study of western contemporary composition

• Relate and apply theoretical compositional concepts to the creation of own original repertoire




6

Apply composition and arrangement

theory, concepts and techniques to the

creation of original repertoire


Compose, arrange and present original music in the

context of a specific brief

125

7

Analyse and explain the theory, concepts

and techniques used to inform the

creation of original repertoire


Provide a reflective account analysing and justifying

the compositional theory, concepts and techniques

employed when creating original repertoire

8

Demonstrate project planning and the

ability to map out stages in the

composition process


Outline a coherent and intentional strategy to the

creation and presentation of original repertoire.

Skills Development


Understanding fundamental theoretical ideas and concepts

that inform the study of musical composition

Knowledge of established western composition and

arrangement techniques and skills

Intellectual Skills

The ability to reflect on individual practice and make informed

comments and conclusions to enhance the creative process

Practical Skills�The learner will demonstrate the ability to compose, arrange,

perform and present original music.

Transferable Skills


management skills, reflective practice techniques and self-

directed working.

126

Assessment Strategy

Summative assessment (Portfolio and Reflective Commentary)


submission of 2 assessment elements: a portfolio and reflective

commentary.

Element 1: Portfolio

The portfolio will contain the following elements:

1. A recording or recordings of original composition/s

totaling no more than 6 minutes. (Minimum of 3.30

minutes).

The number of compositions and the duration will be

dependent on genre and contextual factors affecting the

creative process. You will be responsible for defining and

justifying these from the outset, with support from the tutor.

Element 2: Reflective Commentary

A critical evaluation outlining the compositional process

(theory, concepts and techniques) and creative rationale

informing the composition process. (1500 words)


with formative assessment taking place at week 8. Weekly

tasks will allow you the opportunity to refine compositional

practice in relation to specific topics and concepts central to

the field.

No Assessm

ent

Method

Description of



Assessed

6 7 8

1 PO Portfolio 40 Compensatable X

127

2 CE Reflective Commentary 60

Compensatable X X


AR artefact OR oral











128

Books (electronic resources)

• Cole, Bruce. (2006) The Pop Composer’s Handbook. Schott

• Collins, Dave. (2012) The Act of Musical Composition: Studies in the Creative Process

• Gorow, Ron. (2002) Hearing and Writing Music. 2nd Edition. September Publishing �

• Hewitt, Michael. (2009) Composition for Computer Musicians. Boston: Course Technology�

• Landy, Leigh. (2012) Making Music with Sounds. Routledge

• Tagg, Philip. (2012) Music’s Meanings: A Modern Musicology for Non-Musos. MMM

Web articles

. 22 Essential Arranging Tips (2008) (Music Radar) <http://www.musicradar.com/tuition/tech/22-

essential-arranging-tips-133898> �

. Making Arrangements – A Rough Guide to Song Construction & Arrangement (1997) (Sound On

Sound) <http://www.soundonsound.com/sos/1997_articles/oct97/arranging1.html> �

. In the Studio: Song Arrangement 101 (2011) (ProSoundWeb)

<http://www.prosoundweb.com/article/print/in_the_studio_song_arrangement_101> �

Journals (electronic resources) �

• American Songwriter [one (1) article available via Rock’s Backpages] �

129

• Journal of the Art of Record Production [http://arpjournal.com]

• Journal of Music, Technology and Education [available via One Stop Search)

• Performing Songwriter [small selection of back-copies available via Rock’s Backpages] �

• Popular Music [available via Cambridge University Press Current Complete (from 1980 – �present)] �

Further reading (not available electronically)

• Blatter, Alfred (1997) Instrumentation and Orchestration. Schirmer Cengage Learning

• Gorow, Ron (2002) Hearing and Writing Music. 2nd Edition. September Publishing �

• Hugill, Andrew (2012) The Digital Musician. Routledge

• Moorefield, Virgil (2010) The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press

• Persichetti, Vincent (1961) Twentieth Cetury Harmony: Creative Aspects and Practice. Faber

and Faber

• Runswick, Daryl (1993) Rock, Jazz and Pop Arranging: All the Facts and All the Know-How. Faber Music

• Scott, Richard J. (2003) Chord Progressions For Songwriters. Writers Club Press �

• Smith Brindle, Reginald (1986) Music Composition. Oxford University Press �

• Webb, Jimmy. (1999) Tunesmith: Inside the Art of Songwriting. Hyperion

130


Subject Music


Department AMATA

Version 1



appropriate)


131


Module Name Developing Your Own Style



Credit Value 30 credits Pre and Co-requisites Indicate module name, codes will be inserted later

None

Compulsory or Option Compulsory Named Module Leader Martin Goulding




• 28 hours of lectures (14 x 2.0 hours) • Small groups/individual tutorials (10 hours) • Forums/online peer chat/master-classes (10 hours)


Developing Your Own Style provides you with the opportunity to amalgamate the concepts studied throughout the course and apply this knowledge towards the development of your own sound and style. You must apply a critical approach to your developmental process and be able to explain and demonstrate your unique approach to your area of specialism. In addition to demonstrating repertoire that embodies your individual style, you will be asked to provide a critical analysis of your work that discusses your developmental journey, current practice and aspirational goals for the future. You will be expected to develop a strategic approach for doing the practice and research required that employs effective time management. The module is predominantly self-directed study, and lectures will be supported with tutorials and group sessions.

Aims Maximum of 3

The aim of this module is to enable you to:

132

• Evaluate the conventions and vocabulary of your instrument and apply them in an appropriate musical context

• Synthesise musical elements to develop authoritative musicianship as demonstrated by industry professionals

• Construct a rationale for the synthesis of musical concepts and techniques in the formation of an individual sound and performance style




1

Demonstrate authoritative technical and

musical skills as typified by industry

professionals within your chosen

discipline

(Creative Music Performance LO 1)

Perform repertoire that evidences the synthesis of

technique and musical skills to a professional

standard

3

Evidence an individual voice in music

performance through a broad range of

personal expression, deep interpretive

insight and originality


Perform repertoire that demonstrates an individual

musical voice through the use of deep interpretive

insight, originality and personal expression

4

Demonstrate clear and coherent

connections between theory and practice

in music through the synthesis of a

broad-based body of knowledge relevant

to the discipline


Provide an essay containing critical reflection of

your own work and the synthesis of relevant

techniques, skills and knowledge to create an

individual sound and style

Skills Development

Knowledge and Understanding Understanding of the vocabulary and conventions of the

instrument and of the demands of presenting this work in

performance.

Knowledge of the relationship between theory and practice

that can influence performance outcomes.

Intellectual Skills The ability to undertake critical and contextual research. Practical Skills The learner will demonstrate the ability to perform chosen

repertoire that embodies a specific sound and style

Transferable Skills

The learner will have the opportunity to develop effective

time management skills, research based skills and self-

directed working

133

Assessment Strategy

Summative assessment (Submission of filmed performance and accompanying essay)

The achievement of learning outcomes is assessed in two

ways:

1. Submission of a 15-20 minute filmed performance

demonstrating an approved repertoire that embodies your

unique performance style.

2. Submission of an essay (2500 words) identifying and

analysing the key elements of your own performance style.

The key points of the essay should link back to the filmed

performance where relevant.



module.


AR artefact OR oral










Indicative list of Resources Journals (electronic resource)





No Assessment

Method

Description of Assessment

Method %

compulsory or

compensatable

Learning Outcomes Assessed

1 3 4

1

PF

Performance

50

compensatable X

X

2 ES Essay 50

compensatable X

134






• Govan, Guthrie (2003) Creative Guitar 1: Cutting Edge Techniques. Sanctuary Publishing




• Wine, T. (2003) 1001 Blues Licks. Hal Leonard Corporation


Subject Music


Department AMATA

Version 1



appropriate)


135

EMUCMPFO Award Doc v3 KR May 2016


Module Name Applied Techniques




None

Compulsory or Option Compulsory Named Module Leader Paul Elliott




• 28 hours of lectures (14 x 2.0 hours) • Small groups/individual tutorials (10 hours) • Forums/peer chat online/master-classes (10 hours)


The Applied Techniques module builds on the learning from previous modules and aims to further equip you with specialist skills, techniques and methodologies to incorporate into your creative practice. In addition to consolidating technical skills, the module will continue to explore improvisation and its contextualisation into various musical genres. The concepts learned in this module will support and build towards the Solo Performance module in Trimester 6. You will be encouraged to develop and extend your own learning methodologies to enhance your technical abilities and synthesise the development of skills into a broader musical context.

Aims Maximum of 3


• Expand your technical proficiency and musical expression on the instrument


• Generate performance through the synthesis of various conventions and vocabularies related to your practice

• Evaluate the techniques and concepts explored and

apply these to various genres




1

Synthesise instrument-specific techniques

and apply them to performance with

accuracy and control


Perform musical examples that synthesise a variety

of techniques with a secure level of accuracy and

control

2

Display advanced improvisational skills

appropriate to the chosen genre


Demonstrate advanced improvisational skills in a

considered and contextually appropriate manner in

a range of genres

3

Demonstrate deep levels of interpretive

insight and creativity in musical

performance


Perform musical repertoire that demonstrates

deep levels of interpretive insight and creativity

4

Evidence the synthesis of technical and

improvisational concepts in performance


Perform musical examples that synthesise

technical and improvisational concepts within a

wider musical context

Skills Development

Knowledge and Understanding The learner will gain a deep understanding of the vocabulary

and conventions of the instrument through the module

content.

Intellectual Skills The learner will have to opportunity to develop and apply

relevant cognitive and analytical skills in relation to the

specialist content of the module. Practical Skills The learner will develop the ability to perform instrument

specific vocabulary to a standard typified by professional

players.

Transferable Skills The learner will have the opportunity to evaluate and

synthesise instrument specific techniques in developing a

strategic and innovative, employing effective time


management skills in the planning, practice and preparation

for the assessment.

Assessment Strategy

Summative assessment (Submission of filmed performance)

You will be asked to submit a 25-30 minute filmed

performance demonstrating a range of technical exercises

(e.g. scales, arpeggios and chord sequences) that embodies

the lecture content for the module. You are encouraged to

present the content in a creative manner, demonstrating an

understanding of how to apply the material into a broader

musical context.

Each example must be clearly introduced, with a brief

statement explaining the concept(s) being covered and the

rationale for the approach taken. Summative assessment will

occur at the end of Trimester 5, with formative assessment

taking place throughout the module.

Assessed areas will include:

• Timing


• Sound production

• Fluency

• Consistency

• Creativity and evidence of wider application


AR artefact OR oral










Indicative list of Resources Journals (electronic resources)

No Assessment

Method


Method %

compulsory or

compensatable


1 2 3 4

1 PF Performance 100 compulsory X

X

X X









• Cooley, Rusty (2013). Rusty Cooley’s Fretboard Autopsy: Scales, Modes & Melodic Patterns.

Rock House.


• Goodrick, M with Metheny, P. (1998). Advancing Guitarist - Applying Guitar Concepts and Techniques. Milwaukee. Hal Leonard Publications.

• Govan, G. (2003). Creative Guitar Books 1, 2 & 3. Sanctuary Publishing.






DVDs (recommended)

• Hot Licks: Learn Rockabilly Guitar with 6 Great Masters! Music Sales America.

• Hot Licks: Learn Heavy Metal Guitar with 6 Great Masters! Music Sales America.

• Hot Licks: Learn Southern Rock Guitar with 6 Great Masters! Music Sales America.

• Hot Licks: Nils Lofgren – Electric & Acoustic Guitar. Music Sales America

• Liquid Legato: Develop Fluid Lead Lines with Hammer-ons, Pull-offs and Slides. Musicians

Institute Press.

• Tremonti, Mark, The Sound and the Story. All-Access Guitar Instruction.


Subject Music


Department AMATA


Version 1



appropriate)

BA(Hons) Creative Music Performance compulsory



Module Name Solo Performance




None

Compulsory or Option Compulsory Named Module Leader Jon Bishop




• 6 hours of lectures (3 x 2.0 hours) • Small groups/individual tutorials (20 hours) • Peer chat online (20 hours)


Solo Performance asks you to demonstrate the totality of your skills and knowledge on your instrument in a performance setting. You must assume responsibility for all musical and administrative aspects of your performance, such as the selection of repertoire, any additional musicians and choice of venue. You should demonstrate repertoire that showcases the skills, techniques and improvisational concepts studied, embodying your own unique style. Additionally, a reflective account that covers the process of organising the performance, the rationale for repertoire chosen and a post mortem of the performance itself must be submitted as part of the module assessment. You will be expected to develop a strategic approach for doing the practice and research required that employs effective time management. The module is predominantly self-directed study, and lectures will be supported with tutorials and group sessions.


Aims Maximum of 3

The aim of this module is to enable you to: • Evidence competent and credible musicianship as

typified by industry professionals • Define and demonstrate at an appropriate level, the

conventions and vocabulary of your instrument • Evaluate the processes and methodologies applied in

your practice and assess how these were applied in performance




1

Synthesise instrument specific technical

and musical skills in the context of

performance repertoire with fluency and

control


Perform repertoire that synthesises technical and

musical skills with fluency and control

2

Evidence advanced improvisational skills

appropriate to the chosen genre with

assurance and musicality


Perform repertoire that demonstrates an assured

and musical integration of advanced

improvisational skills as appropriate for the genre

3

Demonstrate a distinct musical voice

through interpretive insight, personal

expression and creativity in the

performance of musical repertoire


Perform repertoire that demonstrates a distinct

musical voice through interpretive insight, personal

expression and creativity in your discipline

4

Evaluate and apply a broad-based body of

musical knowledge and skills in the

planning and execution of a live

performance


Provide a rationale for the selection of

performance repertoire and its relevance to your

own musical voice

8

Reflect critically on the processes and

planning required to organise a live music

performance


Identify and evaluate the processes and logistics

required to plan and organise a solo performance

Skills Development

Knowledge and Understanding Understanding of the vocabulary and conventions of the

instrument and of the demands of presenting work in

performance.

Knowledge of the technological factors that can influence

performance outcomes.

Intellectual Skills


The ability to undertake critically reflect on the process

related to the performance Practical Skills The learner will demonstrate the ability to perform chosen

repertoire that embodies an individual sound and style

Transferable Skills

The learner will have the opportunity to develop effective

skills regarding time management, planning and organisation

Assessment Strategy

Summative assessment (Submission of filmed performance and accompanying essay)

The achievement of learning outcomes is assessed in two

ways:

1. Submission of a 30-40 minute filmed performance that

demonstrates repertoire embodying your unique

performance style.

2. Submission of an essay (3,000) reflecting on the process of

staging the performance and critical analysis of your own

performance. The key points of the essay should link back to

the filmed performance where relevant.



module.


AR artefact OR oral









No Assessment

Method


Method %

compulsory or

compensatable


1 2 3 4 8

1

PF

Performance

70

compensatable X

X

X

2 ES Essay 30

compensatable X

X



Indicative list of Resources Books (electronic resource)

• Counsel, C. and Wolf, L. (2001) Performance Analysis: An Introductory Coursebook. Routledge.

Web articles

• John Pretrucci workout: <http://www.guitarworld.com/john-petrucci-practice-tips-part-1>

• Steve Vai 10-hour workout:

<http://picksnlicks.com/Guitar%20Lessons/Exercises/30_hr_workout/30_hr_workout_1.html>

• http://www.bulletproofmusician.com/how-many-hours-a-day-should-you-practice/

• http://themusiciansblog.wordpress.com/2010/02/28/12-tips-for-practicing-music/

• http://lifehacker.com/5939374/a-better-way-to-practice


• Campbell, P. (ed.) (1996) Analysing Performance: A Critical Reader. Manchester Univ.Press • Davidson, J. (2004) The Music Practitioner. Ashgate.

• Evans, A. (2003) Secrets of Performing Confidence. A&C Black

• Werner, Kenny (1996) Effortless Mastery: Liberating the Musicians Within. Jamey Aebershold,

Inc

NB The websites listed above were live at the time of writing. If any of them are unavailable you can

find alternatives via your search engine.


Subject Music


Department AMATA

Version 1



appropriate)


BA(Hons) Creative Music Performance compulsory



Module Name Professional Practice Portfolio

Module Code SRIT to establish coding protocol DIMEO-035



None

Compulsory or Option Compulsory Named Module Leader Paul Elliott




• 12 hours of signpost lectures (6 x 2.0 hours) • Small groups/individual tutorials (20 hours) • Forums/peer chat online/seminars (20 hours)


The Professional Practice Portfolio module requires you to research and report on the full spectrum of career opportunities available within your specialist area. In addition to identifying various career pathways, you should also comment on how your craft can be contextualised into professional opportunities that will, if desired, monetise your skills and inspire entrepreneurial practice and artistic excellence. Additionally, you will be asked to have other components in your Portfolio that are intended to facilitate your career. These items include:

• Personal website (supporting your professional work) • Various forms of social media (as above)

You should utilise a research-based approach (clearly demonstrated through referenced sources) to identify career and/ or artist opportunities related to your specialist area, and support findings by examining the work of recognised leaders in their field. The report should examine current ways of working for the self-employed music professional, including entrepreneurial practice, marketing, self-promotion and multiple income streams.


You will be required to present a persuasive argument showing how your aims are realistic and achievable and this should be backed up by credible research data and analysis. Where possible, the additional components of your portfolio should align with your report on career opportunities and pathways. You will be expected to develop a strategic approach for managing the process of creating the portfolio that employs effective time management, research skills and the ability to reflect and comment critically. Lecture content will be supported with tutorials and group seminars.

Aims Maximum of 3


• Generate ideas and construct arguments in both verbal and written form and to evaluate such ideas and arguments critically.

• Apply research-based knowledge in a practical and discriminating way, classifying significant data, and applying this learning in the design of realistic and achievable career planning strategy.


LO

On completion of this Module you should be able to:

Assessment Criteria To achieve the learning outcome you must

demonstrate the ability to:

1

Apply a research-based approach in the

identification of relevant employment

opportunities within the music industry

(Music Entrepreneurship LO 8, 9; Creative

Songwriting LO 8, 9; Creative Music

Performance LO 7, 8)

Identify and define employment opportunities

within your specialist area

Formulate a personal career plan that

incorporates and synthesises relevant data and

specialist knowledge

Create a personal website and exploit current and

relevant forms of social media for professional use

2

Evaluate the range of career

opportunities relevant to your own

personal situation, assessing the

strengths and weaknesses of each

(Music Entrepreneurship LO 8, 9; Creative

Songwriting LO 8, 9; Creative Music

Performance LO 7, 8)

Identify and evaluate industry employment

opportunities relevant to a bespoke career plan

Justify and defend personal career choices and

illustrate how objectives are realistic and

obtainable

Skills Development


Knowledge and Understanding Understanding of entrepreneurial practice in the relevant

specialism

Knowledge of career opportunities and best practice

Intellectual Skills

Develop cognitive and analytical skills applicable to the

formation of career pathways

Practical Skills Construct a written dissertation intelligible to expert and non-

expert audiences

Transferable Skills • Time management

• Research techniques

• Critical thinking

Assessment Strategy

Summative assessment (Professional Portfolio)

You will be asked to submit a professional portfolio containing

elements relevant to your career pathway and current

working activities. The portfolio must contain a career

research report of 2,500 words outlining a considered and

appropriate range of career opportunities linked to your

specialist area and a strategy for the development your own

professional practice. You should use a research-based

approach that features clear referencing and which supports

all assertions, arguments and conclusions raised in the report.

The report will be based on a research theme or question that

addresses critical issues related to career development and

artistic opportunities linked to your specialist field. This must be

capable of being investigated within the allocated time frame.

The report must follow appropriate academic protocol as

regards the referencing of sources and the development of a

supported, critically accountable and contextually astute

argument. The report should be an empirical investigation that

uses primary and secondary data and research material

gathered through appropriate methods and from credible

sources within the wider field of inquiry.

You will identify and organise your research showing how this

is relevant to your engagement with your question. Through

analysis you will draw informed conclusions about the creative

commercial opportunity available to you and present a

defendable argument to support your position.



AR artefact OR oral











Books (electronic resource) • Bell, Judith (1987) Doing Your Research Project. Open University Press.

• Levin, Peter (2004) Write Great Essays!: a Guide to Reading and Essay Writing for Undergraduates and Taught Postgraduates. Maidenhead: Open University Press.

• McMillan, Kathleen (2007) How to Write Essays and Assignments. Harlow: Pearson/Prentice

Hall.

Web articles

You will be asked to support the career research report with the

inclusion of a personal website and various forms of social

media, both of which should have strictly professional

objectives. The website should include items such as current

photos, embedded video and/or audio, a current biography,

details of the service(s) you provide, discography (as relevant),

news and other information relevant to your professional

status. Your social media should feature aspects of your

professional work and clear signs of promotional use.

No Assessment

Method


Method %

compulsory or

compensatable

Learning

Outcome

Assessed

1 2

1

PO

Portfolio 100

compulsory X X


• (2011) Writing a Dissertation. (University of Leceister AccessAbility Centre)

<http://www.youtube.com/watch?v=1hVNF_8S6Ok>

• Klein, Stella (2013) How to Plan Your Dissertation. (The Guardian)

<http://www.theguardian.com/education/2013/mar/21/how-to-plan-your-dissertation>

• Klein, Stella (2013) How to Write Your Dissertation. (The Guardian)

<http://www.theguardian.com/education/2013/mar/25/how-to-write-your-dissertation>

Further reading (unavailable in electronic form) • Creswell, John. 2013. Research Design: Qualitative, Quantitative, and Mixed Methods

Approaches. SAGE.

• Thomas, Gary. 2013. How To Do Your Research Project. Sage.

NB The websites listed above were live at the time of writing. If any of them are unavailable you can

find alternatives via your search engine.


Subject Music

Course Music Entrepreneurship/Creative Songwriting/Creative Music Performance

Department AMATA

Version 2



appropriate)

BA(Hons) Music Entrepreneurship Compulsory

BA(Hons) Creative Songwriting Compulsory



Documents

BA(HONS) CREATIVE MUSIC PERFORMANCE · 2019-12-04 · 3 Award Map – BA (Hons) Creative Music Performance Full-time (2 year accelerated) YEAR 1 (180 CREDITS) YEAR 2 (180 CREDITS)