Course Handbook 2018-2019 BA (Hons) in Commercial Modern … · 2018-10-31 · 10 26/11/2018 EOT Gig Auditions 11 03/12/2018 Presentation 12 10/12/2018 Presentation EOT Gig Keyboard

BA in Commercial Modern Music Year 2 Course Handbook © BIMM 2018

Course Handbook 2018-2019

BA (Hons) in Commercial Modern Music

Year 2


Content

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

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

• Year 2 BA (Hons) Assessment Calendar ................................................................ 8

• Academic Development & Quality Assurance ....................................................... 9

• General Assessment Regulations ........................................................................... 9 Exam grades ......................................................................................................................................... 9 Written and Practical Examinations ..................................................................................................... 9 Plagiarism ........................................................................................................................................... 11 Referencing – The Harvard Reference System (HRS) ......................................................................... 11 Adhering to Submission Deadlines ..................................................................................................... 11 Assessment Feedback Process ........................................................................................................... 12 Extensions .......................................................................................................................................... 12 Disability ............................................................................................................................................. 15

• Policy on plagiarism, collusion and misconduct ................................................ 16 Academic misconduct ........................................................................................................................ 16 Collusion ............................................................................................................................................. 16 Plagiarism ........................................................................................................................................... 16 Investigation of misconduct ............................................................................................................... 16

• Award Criteria and Classification Overview ........................................................ 17 Generic Marking Scheme ................................................................................................................... 17 General Marking Scheme BA (Hons) Commercial Modern Music ..................................................... 17 BIMM Institute Dublin Undergraduate Categorical Marking Scheme ............................................... 19

• The Student Complaint Process .................................................................................... 20

• Procedures Following the Publication of Results ............................................... 22 Viewing of Assessments/Examination Scripts .................................................................................... 22 Re-checks ............................................................................................................................................ 22 Re-Marks ............................................................................................................................................ 22 Appeals ............................................................................................................................................... 23 The Appeals Procedure ...................................................................................................................... 24

• Exams/Assessments FAQ ...................................................................................... 26 Assessment Submission Form ............................................................................................................ 28

• Moodle ....................................................................................................................... 29

• Registration and Student Card ...................................................................................... 30

• Details on how to access the e-learning support ........................................................... 30

• Communication arrangements for the programme ....................................................... 30

• Class Timetables .......................................................................................................... 31

• Module Information.................................................................................................. 32 DN/MM618 Styles 2 ............................................................................................................. 32

Module Summary ............................................................................................................................... 30 Aims .................................................................................................................................................... 30


Indicative Study Topics ....................................................................................................................... 30 Teaching & Learning Methods ........................................................................................................... 30 Formative Assessment ....................................................................................................................... 30 Learning Outcomes ............................................................................................................................ 31 Assessment ......................................................................................................................................... 31 Assignment Brief ................................................................................................................................ 31 Assessment Criteria ............................................................................................................................ 33 Reading List ........................................................................................................................................ 34

DN/MM619 Techniques 2 .................................................................................................... 35 Module Summary ............................................................................................................................... 35 Aims .................................................................................................................................................... 36 Indicative Study Topics ....................................................................................................................... 36 Teaching & Learning Methods ........................................................................................................... 36 Formative Assessment ....................................................................................................................... 36 Learning Outcomes ............................................................................................................................ 36 Assessment ......................................................................................................................................... 37 Assignment Brief ................................................................................................................................ 37 Assessment Criteria ............................................................................................................................ 38 Reading List ........................................................................................................................................ 39

DN/MM614 Essential Development Skills ............................................................................. 41 Module Summary ............................................................................................................................... 41 Aims .................................................................................................................................................... 42 Indicative Study Topics ....................................................................................................................... 42 Teaching & Learning Methods ........................................................................................................... 42 Formative Assessment ....................................................................................................................... 42 Learning Outcomes ............................................................................................................................ 42 Assessment ......................................................................................................................................... 43 Assignment Brief ................................................................................................................................ 43 Assessment Criteria ............................................................................................................................ 44 Reading List ........................................................................................................................................ 45

DN/MM611 Applied Music Business and Study Skills ............................................................ 46 Module Summary ............................................................................................................................... 46 Aims .................................................................................................................................................... 47 Indicative Study Topics ....................................................................................................................... 47 Teaching & Learning Methods ........................................................................................................... 47 Formative Assessment ....................................................................................................................... 47 Learning Outcomes ............................................................................................................................ 47 Assessment ......................................................................................................................................... 48 Assignment Brief ................................................................................................................................ 48 Assessment Criteria ............................................................................................................................ 49 Reading List ........................................................................................................................................ 50

DN/MM616 Performativity and Live Music ........................................................................... 51 Module Summary ............................................................................................................................... 51 Aims .................................................................................................................................................... 52 Indicative Study Topics ....................................................................................................................... 52 Teaching & Learning Methods ........................................................................................................... 53 Formative Assessment ....................................................................................................................... 53 Learning Outcomes ............................................................................................................................ 53 Assessment ......................................................................................................................................... 54 Assignment Brief ................................................................................................................................ 54


Assessment Criteria ............................................................................................................................ 56 Reading List ........................................................................................................................................ 56

DN/MM612 Applied Theory, Transcription and Keyboard Skills ............................................. 58 Module Summary ............................................................................................................................... 58 Aims .................................................................................................................................................... 59 Indicative Study Topics ....................................................................................................................... 59 Teaching & Learning Methods ........................................................................................................... 59 Formative & Summative Assessment................................................................................................. 59 Learning Outcomes ............................................................................................................................ 60 Assessment ......................................................................................................................................... 60 Assignment Brief ................................................................................................................................ 60 Assessment Criteria ............................................................................................................................ 61 Reading List ........................................................................................................................................ 62

DN/MM617 Songwriting Techniques 2 ................................................................................. 63 Module Summary ............................................................................................................................... 63 Aims .................................................................................................................................................... 64 Indicative Study Topics ....................................................................................................................... 64 Teaching & Learning Methods ........................................................................................................... 64 Formative Assessment ....................................................................................................................... 64 Learning Outcomes ............................................................................................................................ 64 Assessment ......................................................................................................................................... 65 Assignment Brief ................................................................................................................................ 65 Assessment Criteria ............................................................................................................................ 66 Reading List ........................................................................................................................................ 67

DN/MM613: Arrangement Analysis ...................................................................................... 68 Module Summary ............................................................................................................................... 68 Aims .................................................................................................................................................... 69 Indicative Study Topics ....................................................................................................................... 69 Teaching & Learning Methods ........................................................................................................... 69 Formative Assessment ....................................................................................................................... 69 Learning Outcomes ............................................................................................................................ 70 Assessment ......................................................................................................................................... 70 Assignment Brief ................................................................................................................................ 70 Assessment Criteria ............................................................................................................................ 71 Reading List: ....................................................................................................................................... 71

DN/MM615 Live Performance Workshop (SW) ..................................................................... 73 Module Summary ............................................................................................................................... 73 Aims .................................................................................................................................................... 74 Indicative Study Topics ....................................................................................................................... 74 Teaching & Learning Methods ........................................................................................................... 75 Formative Assessment ....................................................................................................................... 75 Learning Outcomes ............................................................................................................................ 75 Assessment ......................................................................................................................................... 75 Assignment Brief ................................................................................................................................ 76 Assessment Criteria ............................................................................................................................ 77 Reading List ........................................................................................................................................ 77

• Overview ................................................................................................................... 79 Educational Aims ................................................................................................................................ 80 BA Year 1 & 2 Level 6 Course Learning Outcomes ............................................................................. 81 BA Yr. 3 Level 7 Course Learning Outcomes ...................................................................................... 82


BA Yr. 4 Level 8 Course Learning Outcomes ...................................................................................... 83

• Core Structure Diagram – Instrumental Stream .................................................. 84

• Core Structure Diagram – Songwriting Stream ................................................... 86

• Major Themes ........................................................................................................... 88


Welcome Back!

Dear BIMM Musician,

Welcome back to what is set to be a very exciting second year on the BA (Hons) in Commercial Modern Music at BIMM Institute Dublin. Your first year on the BA programme was a remarkable journey where we as a team were privileged to facilitate your growth as performers and artists. It was inspiring to see the level of improvement and confidence which you had all achieved by the end of the year. We hope that you will be able to take the many lessons learned in first year and apply this knowledge to your studies in the coming year. One of the most powerful skills is the understanding that you only get out what you put in, in other words if you work hard you will reap the dividends. These remaining 3 years are a wonderful opportunity to hone your skills and explore all the areas and facets which contribute to reaching your full potential as a musician and performer. Enjoy your time here and don’t miss out on opportunities- collaborate with your fellow students and continue to get involved in as many bands and projects as you can- this will all contribute to enriching your knowledge and enhancing your skills. As you already know, we are here to guide you through your time at the college and to help you achieve your ultimate goal of successfully completing your degree, and having a sustained career in the music industry. If you feel you need support at any time you know we will do our best to help you in any way we can.

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

Please read through this manual and understand that everything in it is there for you to get the most out of your time at BIMM Institute Dublin.

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

Dara Kilkenny

Executive Principal


Dear BIMM Musician,

Welcome back to your second year at BIMM Dublin and congratulations for completing

last year successfully!

It was very encouraging to see such an enthusiastic approach and high level of achievement last year and to read such positive feedback from you. Your feedback has informed many exciting changes to the course, including the development of new modules such as Essential Development Skills and Performativity and Live Music. All of us here are committed to ensuring that the quality of education you receive is second to none, but remember, we need you to help us make modules work; please attend all of your classes so that you can share your ideas and skills with your tutors, but most importantly, with each other.

We have a great team of dedicated tutors as you know, and a few more joining us who combined, have a wealth of real world experience to draw upon. We’ve managed to attract these top musicians because BIMM Institute Dublin’s reputation is growing and you are the ones leading the way.

Remember that in addition to your structured classes, you can book supplementary tutorials with a tutor from any discipline and take advantage of learning in that unique situation. You’ve probably noticed that time can seem to go quickly and therefore use every single resource as best you can to further your development as a musician. Yes, there’s a lot of competition, but there are also a lot of opportunities for those ambitious musicians who are dedicated to learning, practice and hard work.

Music is a creative art form and you are at the vanguard of the development of that art form. There are many ways to apply that creativity, and many different roles within the industry to consider. As we look towards the next year and beyond, we will help you realise the potential you have, in whatever direction you wish to take it.

I hope you’ll continue to perceive all of the staff here as being approachable. We’re here ultimately to support the mechanisms that help you achieve both academically and in your career. Most of all, I hope you have a great and enjoyable year!

Mark Greaney

Head of Education


Year 2 BA (Hons) Assessment Calendar You have a varied assessment programme, including on-going course work, practical exams, written submissions and written examinations.

This table shows you what assessments to expect. Classes are held each week, except on non-written assessment weeks (greyed-out below):

Wk. W/C

DN/MM618 DN/MM619 DN/MM611 DN/MM614 DN/MM616 DN/MM612 DN/MM617 DN/MM613 DN/MM615

Styles 2 Techniques 2 App. Music Business & Study skills

Essential Development Skills Performativity &

Live Music

App. Music Theory, Transcription & Keyboard Skills

S/W Tech Arrange. Analysis

LPW (SW)

Term 1

1 17/09/2018 EDS Introduction

2 24/09/2018 Cultural Theory, An Introduction

3 01/10/2018

4 08/10/2018

5 15/10/2018

6 22/10/2018 Live and Lyrical Auditions

Review Week 29/10/2018

7 05/11/2018

8 12/11/2018 L&L Gig

9 19/11/2018

10 26/11/2018 EOT Gig Auditions

11 03/12/2018 Presentation

12 10/12/2018 Presentation EOT Gig Keyboard Skills

and Viva Mock MD Exams

Term 2

13 07/01/2019 Personal & Professional

Development Mock MD Exams

14 14/01/2019 Musical Direction

15 21/01/2019 Project Plan

16 28/01/2019

17 04/02/2019 Composition Portfolio 1

L&L Gig

18 11/02/2019 Solo Performance

Exam 1

Technical Exercises, Sight Reading & Viva

Development Plan

19 18/02/2019 Solo

Performance Exam 1

Technical Exercises, Sight Reading & Viva

Research Methods,

Academic Writing & Pedagogy, An

Introduction

20 25/02/2019 Ensemble

Performance 1

21 04/03/2019 Keyboard Skills and Viva Voce

22 11/03/2019 EOT Gig Keyboard Skills and Viva Voce

Review Week 18/03/2019

Term 3

23 25/03/2019 Thematic Journal

24 01/04/2019

25 08/04/2019 Style File Ensemble

Performance

Easter Break 15/04/2019


Exam 2 Technical

Exercises & S/R 2 Written

Business Plan

Composition Portfolio 2

Portfolio L&L Gig


Exam 2 Technical

Exercises & S/R 2 Research Project

Ensemble Performance 2

28 13/05/2019 Solo

Performance Exam 2

Technical Exercises & S/R 2

Aural Transcript. and written exam


Exam 2

Technical Exercises & S/R

2 EOT Gig


Academic Development & Quality Assurance

BIMM is committed to maintaining the highest standards of academic and vocational excellence in modern music education. As part of this obligation we continue to look for ways to communicate information about this mission to all stakeholders including our staff, students (current and prospective), and their parents and guardians.

To accomplish this, we have created this page to make information available on the way we assure academic standards and manage and enhance the quality of learning opportunities we provide to our students in partnership with our awarding institutions.

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

General Assessment Regulations

Examinations are conducted in accordance with the DIT General Assessment Regulations. Students are expected to familiarise themselves with all the regulations and procedures:

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

Exam grades

Exams are marked by the BIMM teaching faculty and moderated by an Internal Verifier. The examination procedures are subject to external inspection and moderation from DIT. This ensures that we mark consistently within our own departments and also to national standards. Be aware marks given are not final until verified by DIT.

Written and Practical Examinations

• It is the student’s responsibility to ascertain the date, time and venue for written and practical examinations. Timetables will be published well in advance of the examinations.

• Students should familiarise themselves with the content and assessment methods of the modules in which they are enrolled. This information is included in this manual.

• Take careful note of the Assessment Calendar in this manual, outlining specific deadline dates. Details for all assessments are outlined within each module section.

• Grades and/or feedback will be sent to students throughout the year however results are provisional until approved by the examination board at the end of the year.

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

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

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

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



3. Repeat written examination plus redo assessments/assignments etc.

• A referral in a module is regarded as a second/subsequent attempt. Students who pass a referred module will have a maximum mark of 40% recorded for that module.

• A deferral in a module - usually for medical reasons and supported by a Personal Circumstances Form (see link below) means that a student can undertake reassessment without any penalties.

• All supplementary submissions whether referrals or deferrals are subject to one final submission deadline. The five day late penalty is not applicable to any supplementary submissions or to assignments where an extension has been granted.

• Students will need to be available during the first half of August to undertake written/practical supplemental examinations.

• From the commencement of Academic Year 2014 – 2015, students may only make four attempts at any module (including the first try). Please note that it is possible to use up two attempts in one year.

• The classification of the final degree awarded is weighted 40/60 between third and fourth year marks respectively.

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

• Essay & Written Work: It is each student’s own responsibility to ensure that all submitted assignment files are in correct working order at the time of submission. If your files are found to be corrupt, missing or are not accessible to the examiner due to being in the wrong format you will receive a zero grade for that element.

• Format: All written submissions must be Word-Processed as a Microsoft Office Word Document. When submitting through the VLE (Virtual Learning Environment) only .doc or pdf files should be used.

• Submission deadlines: These will be issued to you well in advance of the date, usually in a detailed brief. The brief will specify how the work should be submitted (e.g. via your VLE or another mode). Follow the brief carefully and ensure that you submit in the correct format.

• Spacing: Double-spaced (so the marker has space to write in comments)

• Font: 11 or 12 point type in a clear font such as Times or Arial

• Information: Each page must include your student (candidate) number (in the header) and a page number (in the footer)

• Presentation: For hand in submissions presentation is specific to the assignment brief given.

• Media: USBs, CDs or additional materials should be firmly attached to the hand in submission and should always be checked to ensure that they are in working order.




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

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

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

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

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

Plagiarism

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

Referencing – The Harvard Reference System (HRS)

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

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

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

Adhering to Submission Deadlines

• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five working day late period has passed.




• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.

• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.

Assessment Feedback Process

• While attending BIMM you will receive written feedback on all your assessments and assignments.

• This feedback will be made available (along with your grade) within 15 working days of your assessment date.

• BIMM’s exams team will contact you directly via your DIT email address to alert you once your feedback is available. So be sure to check this email account regularly.

• Once you have received confirmation that your feedback is available, you will be able to view it directly on Moodle. Instructions as to how you may access this will be included in the email from the exams team. (It is worth noting that the feedback will usually be available under the assessment week in Moodle)

• If you experience an issue accessing your grade and feedback, contact the BIMM exams team directly.

Extensions

In exceptional cases where a student knows for good reason that a deadline cannot be met in advance, they may request an extension of a deadline. A form should be sought from the Student Services Team and this form should be submitted two working days* IN ADVANCE of the deadline – it is expected that such requests will normally be the exception rather than the rule. The circumstances under which such a request would be considered are:

• Serious personal and/or family reasons;

• prolonged period of ill health supported by medical documentation (please note assessment deadlines are communicated well in advance to allow adequate time for students to prepare. Therefore illness in the week before a deadline, unless of a grave nature, will not be considered).

Extension requests may not be used for:

• General work pressure

• Tight deadlines

• Unavailability/breakdown of equipment, technology etc.

• Personal disruptions (weddings, holidays etc.)

*In certain circumstances and where there is a justifiable reason for such, an extension request may be considered within two working days of the deadline. No requests will be considered after the deadline has passed.

Students who are granted an extension of an assignment deadline, must submit before the agreed new deadline and will not be permitted to submit within an additional late penalty period. All Extensions are given at the discretion of the Student Services Team.


Personal Circumstances

DIT General Assessment Regulations (second edition 2009), among other things, make provision for an Examination candidate who feels that personal or other serious difficulties, for example accident, illness or bereavement, which were largely unforeseen and adversely affected their performance in an assessment and wishes to bring this to the attention of the Examination Board. It should be noted that the examination board will normally require the student to complete the learning outcomes for a module.

The PC1 Form can only be used to determine if a student should undertake an alternative form of assessment or if a student’s next attempt at an assessment / Examination will be considered as their first attempt or second (or subsequent) attempt. The PC1 Form cannot be used to alter a mark or exempt a student from completing the learning outcomes of the programme. Personal Circumstances as envisaged under this regulation relate to serious adverse factors only.

Situations that the PC1 Form should not be used include:

• Reporting Quality Assurance Issues

• Complaining about general work pressure

• Informing the College of Personal Disruptions (Holidays / Weddings etc.)

• Informing the College about Financial Constraints

• Making excuses for missing assessments / Examinations / deadlines

• Complaining about tight deadlines

• Reporting the unavailability / breakdown of equipment, technology etc.

• Complaining about class room delivery of modules.

Deadline for submission of PC Form

• In the case of course work, the deadline for submitting a Personal Circumstances form is normally the same as the scheduled hand-in date for the assignment.

• In the case of written or practical examinations, the completed form should be submitted not later than two days after the last examination taken.

The Examination Board may take such action as it sees fit to take into account the evidence provided by the student. While there may be an acceptance that personal circumstances have resulted in poor performance in coursework or examinations, the Examination Board will normally require the student to complete the learning outcomes for a module.

In cases where a student has a temporary disability, i.e. as a result of an accident and requires special arrangements, they should immediately contact The Student Support & Quality Department who will liaise with the Disability Service if necessary.

The Disability Service requires medical documentation to register any students for temporary exam accommodations.


Assessment Schedule Deferral Request

Please note that in certain exceptional circumstances we may be able to amend the assessment schedule to facilitate industry leave of significant professional value to the student and/or where there is an unforeseeable obstacle to the student sitting the exam on a particular day e.g. bereavement. However, requests to amend the assessment schedule must be made in advance of accepting any professional commitments. Students must also make contact with the Exams office or their Student Services officer with as much advance notice as possible if they would like to request that their exam take place on a specific date or time. Slots are final once they have been communicated to students, and we will not consider any timetable change requests, including swap requests, once they have gone out. Please also note that where all students sit the assessment at the same time, e.g. a written exam, there can be no flexibility with the time or date of the assessment.


Disability

It is the policy of BIMM Dublin to facilitate by all appropriate means the participation of students with a disability in the Institute’s programmes.

All students with a disability must be registered with the Disability Service and provide medical documentation or psycho-educational reports. All exam accommodation for students in the Institute are in accordance with the exam accommodations requirements of the Disability Advisors Working Group (DAWN) examination policy.

In circumstances where, as a result of disability, a student is unable to undertake assessment by the means defined for the stage/year then special arrangements may be approved as follows:

Additional time may be permitted for the completion of an invigilated assessment or for the submission of coursework; only with pre-approval from course coordinator for in term coursework.

Special facilities such as Braille, audiotape or computer, with or without specialised software, may be provided in an Examination Hall as an alternative to a printed examination paper and/or answer books;

The employment of special facilities such as amanuensis, reader, interpreter and personal assistants; Students must fulfil specific criteria as required by the DAWN Examinations Policy to avail of these exam accommodations.

Special alternative forms of assessment, only through consultation with the relevant school.

Procedure for requesting special assessment arrangements

A request for special assessment arrangements should be made by the student with disability, normally at the beginning of the academic year, but not later than six weeks prior to the assessment.

A request for special assessment arrangements should be made in the first instance to the Disability Liaison Officer who, in consultation with the Student Services team at BIMM, shall ensure that appropriate arrangements are made.

The student with a disability shall be required to formally indicate in writing to The Student Services Department that the special arrangements proposed are acceptable for the purposes of the assessment.

The Student Services Department shall write out to all students identifying their specific accommodations and in cases where the student required a separate room, advising them where to go for their examination.

The Module Board will be notified of any student that has been assessed using special arrangements.


Policy on plagiarism, collusion and misconduct

Academic misconduct

It is an offence for any student to be guilty of or party to, attempting to commit or committing collusion, plagiarism, or any other misconduct in an examination or in the preparation of work that is submitted for assessment.

Misconduct in assessment exercises, examinations or in the presentation of marks achieved elsewhere is conduct likely to be prejudicial to the integrity and fairness of the examination process. The submission of a dissertation, essay or any other assessment exercise will be considered by the examiners to be a declaration that it is the candidate's own work.

Collusion

Collusion is the preparation or production of work for assessment jointly with another person or persons unless explicitly permitted by the examiners. An act of collusion is understood to encompass those who actively assist others as well as those who derive benefit from others’ work. Where joint preparation is permitted by the examiners but joint production is not, the submitted work must be produced solely by the candidate making the submission. Where joint production or joint preparation and production of work for assessment is specifically permitted, this must be published in the appropriate course documentation. Assessments in this handbook are clearly marked as individual or group work, please consult your tutor or module leader if you are unsure about group or individual assignments.

Plagiarism

Plagiarism is the use, without acknowledgement, of the intellectual work of other people, and the act of representing the ideas or discoveries of another as one’s own in written work submitted for assessment. To copy sentences, phrases or even striking expressions without acknowledgement of the source (either by inadequate citation or failure to indicate verbatim quotations), is plagiarism; to paraphrase without acknowledgement is likewise plagiarism. Where such copying or paraphrasing has occurred the mere mention of the source in the bibliography shall not be deemed sufficient acknowledgement; each such instance must be referred specifically to its source. Verbatim quotations must be either in inverted commas, or indented, and directly acknowledged.

Investigation of misconduct

If a member of staff has sufficient reason to suspect that misconduct has taken place, an investigation into the case will be held. Candidates must be available, if required, to attend an academic misconduct hearing.


Award Criteria and Classification Overview

Generic Marking Scheme

Marking Scheme (BA) Degree qualifications are divided into First, Upper Second (2:1), Lower Second (2:2) and Third Class grade bands. Assessments are marked as percentages, which translate to class marks as follows:

First Class >70%

Second Class,

Division I 60-69.99%

Second Class,

Division II 50-59.99%

Third Class 40-49.99%

General Marking Scheme BA (Hons) Commercial Modern Music

90%-100%

Exceptional work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding. The work demonstrates a very high level of technical competence and skill and is supported by external knowledge that is meticulously referenced where required

80%-89%

Outstanding work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding of the subject. The work demonstrates a high level of technical competence and skills and is supported by external knowledge accurately referenced as appropriate

70%-79%

Extremely good work with presentation of a high standard. There is coherence of ideas and demonstration of thorough knowledge and understanding. The work demonstrates a strong level of technical competence and skills and is supported by external knowledge which has been properly referenced where necessary

60%-69%

The work is well presented and coherently structured. There is evidence of a sound knowledge and understanding of the issues with theory linked to practice where appropriate.


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

50%-59%

Work is of a good standard and presentation is acceptable but with some errors. There is knowledge and understanding of issues under discussion and some evidence of the application of knowledge and ideas where appropriate. The work demonstrates a sufficient level of technical competence and skill and is supported by appropriate references to external knowledge as required

40%-49%

Presentation is acceptable but attention to structure and style is required. The content is relevant but largely descriptive or unimaginative. There is evidence of a reasonable level of knowledge and understanding but there is limited use of external knowledge to support the ideas. Some links are made to external knowledge where appropriate

30%-39% – Fail

The work is poorly structured and presented. Some material may be irrelevant. There is little evidence of technical competence or skills. Content is based largely on taught elements with very little evidence of independent study and little or no reference to external knowledge.

20-29% – Fail

Fails to meet the brief. The work is very poorly structured and presented. Much material is irrelevant. There is minimal evidence of technical competence or skill. Content is based almost entirely on taught elements with very little evidence of any purposeful engagement with or reference to external knowledge.

0-19 % - Fail

The work is extremely poorly structured and presented. It demonstrates no real knowledge or understanding of key concepts and principles. Much material is irrelevant. No effective use of external knowledge. No evidence of technical competence or skill. Not a genuine attempt to engage with the assessment requirements and/or subject matter.


BIMM Institute Dublin Undergraduate Categorical Marking Scheme

For use in the marking of all BA assessments except unseen examinations with separately published mark schemes.

Mark Category Equivalent Classification

BIMM HE Generic Mark Scheme

100 95 90 85 80 75 72

First

90-100

80-89

70-79

68 65 62

2i

60-69

58 55 52

2ii

50-59

48 45 42

3rd

40-49

38 35

High Fail (Compensation

Zone)

30-39

30 20 10 5 0

Fail

20-29

0-19


The Student Complaint Process

The procedures below outline the sequential stages to be followed when a student

makes a complaint in relation to their programme of study. Any student on a programme

of study leading to DIT award who wishes to make a complaint should do so as soon as

the issue leading to the complaint emerges and within the semester in which the issue

has emerged.

A class representative or DITSU officer can make the complaint on behalf of a larger

student group.

Stage 1: Head of School

a) The Complainant submits the Complaint Form to the Head of School. The

Complainant should ensure that they retain copies of the Complaint Form sent to

the Head of School, as they must submit a copy of this form, should they wish to

pursue the complaint through the stages outlined below.

b) The Head of School shall consider the complaint. If the Head of School upholds

the complaint he/she shall agree and implement action to be taken to resolve the

matter.

c) If the Head of School dismisses the complaint, the Complainant may bring the

complaint forward to the College (via the College Director) within 5 working days

of the notification of the decision of the Head of School. The Complainant should

forward a copy of the Complaint Form sent to the Head of School, along with

relevant correspondence.

d) The decision of the Head of School is communicated in writing to the

Complainant and Chair of Programme Committee within 10 days of receipt of the

Complaint Form.

Stage 2: College

a) The College Director or nominee shall consider the complaint. If the complaint is

upheld, the College Director shall decide action to be taken to resolve the matter

and shall refer this decision to the Head of School for implementation.

b) The decision of the College Director will be communicated in writing to the

Complainant, Head of School and Chair of the Programme Committee within 10

working days of receipt of the Complaint Form.


Stage 3: Institute

a) If College Director dismisses the complaint the Complainant may submit the

complaint to the matter to the Director of Academic Affairs and Registrar

within 5 working days of the notification of the decision of the College Board.

The Complainant should forward a copy of the Complaint Form sent to the Head

of School, along with relevant correspondence.

b) The Director of Academic Affairs and Registrar considers the case. If the

complaint is upheld, the Director of Academic Affairs and Registrar shall decide

action to be taken to resolve the matter and shall refer this decision to the Head

of School for implementation. The decision of the Director of Academic Affairs

and Registrar is final.

c) The decision of the Director of Academic Affairs and Registrar is then

communicated to the Complainant, College Director, Head of School and Chair of

Programme Committee.

Heads of School, College Directors and the Director of Academic Affairs must keep a

record of complaints submitted along with written evidence and related correspondence

in accordance with the relevant Records Retention schedule.


Procedures Following the Publication of Results

Viewing of Assessments/Examination Scripts

Candidates who wish to discuss their examination performance in any assessment should contact the School/Department. Each semester Examination Offices publish a calendar of dates for the publication of results and Schools publish dates for the viewing of examination scripts. Viewing of examination scripts and provision of feedback shall normally be scheduled within four days of the publication of results. The Head of School or nominee shall produce the assessed work and demonstrate to the candidate the basis on which the marks were awarded.

Re-checks

A candidate wishing to have an examination paper re-checked should make a formal request (on form A/R 1) which should be returned together with the requisite fee to the Examinations Office within three working days of the date scheduled for the viewing of the examination script.

The re-check process shall be carried out under the direction of the Head of School, and shall normally involve establishing that all attempted parts of each question were marked, and that no computational error occurred during the marking process or the recording of the marks. It shall also involve establishing that all answers, part-answers and/or other assessment materials have been assessed.

Where the process gives rise to a change of mark, it shall be open to the Head of School to require that a re-check be undertaken in respect of all examination scripts in the module concerned. Where this course of action is deemed appropriate, the Head of School may nominate another examiner to carry out the re-check.

Re-Marks

A candidate may seek a re-mark of the examination paper or assessment by submitting form A/R 2 together with the requisite fee to the Examinations Office within five working days of the date scheduled for the viewing of the examination script or within two working days of the submission of the recheck application form.

The Head of School or nominee will make the necessary arrangement for the re-marking of the assessment. In the event that the recheck gives rise to a change of mark, the Head of School shall notify the Examinations Office with a view to reconvening the relevant Examination Board.


Appeals

The appeals process provides for an appeal by a candidate against a decision of the Examination Board on the grounds specified here:

i. that the Regulations of the Institute have not been properly implemented;

ii. that circumstances exist which may not have been specifically covered by the Regulations;

iii. that there is new, attested, documented and relevant information, that was not made available to the Examination Board for justifiable reason, and therefore not considered.

These are the only grounds on which an appeal may be made.

The Appeals Panel and Appeals Board(s)

The function of the Institute’s Appeals Board(s) shall be to adjudicate on an appeal against the provisional examination results of the Examination Board having regard to one or more of the specific grounds as set out in [14.2] above.

An Appeals Panel shall be composed of not more than thirteen persons, including the Chairperson, two Vice Chairpersons, all of whom shall be members of academic staff and shall be appointed for a two year period. The Head of Quality Assurance and Academic Programme Records is an ex-officio member of the panel. To facilitate the simultaneous hearings of appeals, Appeals Board(s) may be constituted from the Panel comprising the Chairperson or a Vice-Chairperson who will act as Chairperson to the Board together with at least three other members of the Panel. See [14.2.2] in relation to eligibility of appeals.

Any member of the Appeals Panel who was a member of the Examination Board at which an appellant’s examination results were determined or who was previously involved in any way at an earlier stage of a particular appeal shall not be present for the hearing other than to present relevant information [see 14.4.2] and shall not otherwise adjudicate on the case.

At the end of the initial two-year period, half the membership of the Panel shall stand down. Thereafter half the membership shall stand down on an annual basis. A retiring member shall not be eligible for reappointment until a further two year period has elapsed.


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

The Appeals Procedure

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

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

An Appeals Eligibility Sub-Group comprising:

Chairperson;

Vice Chairperson and;

the Director of Academic Affairs and Registrar

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

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

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

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


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

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

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

The Appeals Board shall notify in writing the Appeals Panel, the appellant, the Chairperson of the Academic Council, the College Director, the Head of School and the College Administrator of its decision as soon as possible.

The decisions of the Appeals Board(s) shall be final and binding on the Institute and the appellant.

The Chairperson of the Appeals Panel shall present to Academic Council each academic year a written report on the work of the Panel.


Exams/Assessments FAQ

What happens if I can’t attend an exam because of illness or other reasons? You may be granted a deferral (rescheduling of the exam) by completing a Personal Circumstances form (to be requested from the Student Support Department). This must be submitted as follows:

• In the case of course work, the deadline for submitting a Personal Circumstances form is the same as the scheduled hand-in date for the assignment

• In the case of examinations, the completed form should be submitted within 2 working days of the exam

A deferral may then be granted at the discretion of the Head of School.

What grounds can I seek a deferral? Things like:

• Illness (supported by a medical note)

• Bereavement or serious illness of a close family member, partner or close friend necessitating absence

• Unavoidable circumstances requiring absence from exams/submission of assessments

• Excessive personal stress where certified by a doctor or counsellor

Deferrals will not be granted, in particular, in the following circumstances:

• Lack of preparedness for exams/assessments (without other mitigating factors)

• Uncertified illness or stress

If I am granted a deferral, can I still sit an Exam/submit the work? Yes you can sit any or all of those exams/submit any or all of the assessment work. We will write to you and tell you the date of the re-sits.

Is there a penalty if I’m granted a deferral? No. Your work is graded as normal.

What happens if I submit an assessment late?

• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five working day late period has passed.

• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.

• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.


What happens if I fail an exam? You’ll be ‘referred’. This means you’ll be required to re-sit that exam. The re-sits are called ‘Supplemental exams’ and typically take place in August. Grades are capped at 40%. We will write to you and tell you the date of the re-sits. In the case of referred submitted assessments (essays etc.) we will write to you with details of the new deadlines etc.

If I fail an exam will I fail the module? Not necessarily. The grades for all your exams are combined to make up your overall grade for that module (the breakdown of these are specific to the modules - have a look in your course manual). There are two types of assignment: ‘formative’ and ‘summative’. You must reach the pass mark for a summative assignment which is 40%. The overall pass mark for a module is 40%

What if I don’t reach the overall pass mark for a module? There are two possible outcomes:

• You will fail the module and need to re-sit the exam/re-submit the assignment(s) that you failed (see above).

• If your grade is greater than 35% you may be able to avail of compensation. This is a discretionary process whereby you are allowed to progress because you have good performance in all other modules.

If I fail a module (fail the re-sit) will I be allowed to progress to the following year? Yes. If you have passed all other modules you may be allowed to progress to the next year. It is possible to carry forward that module and re-take it alongside the modules of the next stage. Only ONE module can be carried forward. However, you must pass that module before progressing to the next year.

How do I get my results? We will email you your results and feedback. DIT will also email you (to your DIT email address) with instructions about how to log on to the Electronic Gradebook (EGB) to check all your grades.


Assessment Submission Form

BA (Hons) in Commercial Modern Music

Assignment Submission Form

Your work should be submitted at BIMM Dublin.

In submitting this work for marking you are confirming that you have followed all guidelines on formatting and submissions as laid out in your student manual. In addition, handing in this work marks your confirmation that the

material contained in this assignment is all your own work. Where the work of others has been drawn upon it has been properly acknowledged according to appropriate academic conventions.

................................................................................................................................................ Submission Receipt - Please also complete this section to allow for a quicker hand in.

Course (Tick as appropriate)

BA (Hons) Year 1

BA (Hons) Year 2

BA (Hons) Year 3

BA (Hons) Year 4

Instrument (Tick as appropriate)

Bass

Drums

Guitar

Vocals

Songwriting

Code/ Number Name

Module

Assignment

Word Count

Candidate Number

Date Due

Date

Submitted

Candidate no.

Assignment Code

Module Code

Date of submission

Staff Confirmation


Moodle

Moodle is the BIMM Institute’s Virtual Learning Environment (VLE). It is an online space containing materials and tools to support and enhance your learning experience. This platform is an integral part of the student experience at the BIMM Institute. It is not only an online extension of your classroom, but is also the place where you will submit digital assignments and receive grades and feedback.

It also contains a wealth of valuable guidance to support you during your studies. You will find your course handbook, important information on assessment deadlines, guides to each module on your course, and important student services information. Each module on your course has a dedicated space where you can access materials used in class and additional study resources.

Moodle is also where you can book tutorials, book rooms to rehearse and study, secure places for master classes and guest lectures, or apply for work experience opportunities

You’ll find links to college news and networking forums, annual monitoring reports, college board of studies and student rep forum minutes, and much more.

Moodle can be accessed directly at moodle.bimm.co.uk, or via the following link: www.bimmstudents.com, where you will also find helpful links to:

CELCAT timetable

EBSCO electronic library

Email, Cloud storage and Apps

IT Support and Resources

http://www.bimmstudents.com/


Registration and Student Card

All CPD students are required to enrol with BIMM Institute and to register with DIT. You will receive a pre-enrolment form via email on acceptance of your place. This form should be filled out in advance of the enrolment session which usually take place the week before classes commence. During the enrolment session, you will be issued with a BIMM Institute student card. If, for any reason, your card cannot be provided to you on the day, BIMM Institute staff will instruct you on how to collect it in the future.

You will receive their invitation to register with DIT and instructions on how to complete registration via post. Registration for CPD students is usually completed online. Once registration has been finalised, you will be automatically issued with your log-in details for your DIT email account and instructions on how to collect your DIT student card. Your DIT card is required for access to DIT services such as the library.

Details on how to access the e-learning support

You will receive an email before classes commence which includes your username and password for all BIMM Institute I.T. services, including your timetable and our e-learning platform, Moodle. You can access these I.T. services via our website, www.bimmstudents.com. You can also manage your passwords and user profile on this website.

Any queries relating to I.T. services can be directed to [email protected]. If you do not have access to the correct modules on Moodle, please contact [email protected].

Communication arrangements for the programme

BIMM Institute staff will only communicate with you using your DIT email account, so it is essential that you monitor this account regularly. Your Moodle account will also be linked to your DIT email. You will receive your log-in details for your DIT email account once you have completed your DIT registration.

http://www.bimmstudents.com/

mailto:[email protected]

mailto:[email protected]


Class Timetables

CELCAT Calendar is the primary platform through which BIMM students can access their class timetables.

Once enrolment has taken place, each student receives an email with a link to CELCAT Calendar, log in credentials and instructions on how they can log in and view their timetable.

In addition to CELCAT Calendar, BIMM students may also subscribe to a direct feed of their timetable via their smart phone using iCal.

Once students subscribe to iCal, they will be provided with a link that will allow them to view their timetable through their smart phone using Apple Calendar, Google Calendar or Outlook.

Details on how to subscribe to iCal is sent to each student following enrolment and remains available through the Student Resource section of Moodle for the duration of the academic year.


Module Information

DN/MM618 Styles 2

Key Information

Course: BA (Hons) in Commercial Modern Music

Module Code: DN/MM618

Module Level: 6

Module Credits: 10

Pre-requisite module or learning: None

Module type: Core

Teaching & Learning

Lectures: 23 x 1.5 Hours

Tutorials: 2 x 1 Hour

Self-Directed Learning: 163 Hours

Module Leader: Karl Breen Tutors: Mick Tierney

Johnny Boyle

Adam Taylor

Karl Breen


30

Module Summary

In this module musicians will take part in genre-based performance workshops which build upon the learning within DN/MM607 Styles 1. This module is designed to increase knowledge of the sounds and development of the high level skills associated with different styles of music. Where DN/MM607 may have ‘scratched the surface’ of a particular style, this module affords the learner the opportunity to investigate a genre in much more detail and a higher level of authenticity and attention to detail will be expected. This expertise is invaluable for anyone wishing to become a working touring or studio musician. Topics include principal exponents, historical context, instrumentation, harmony, improvisation, aural perception, song structure, and associated techniques as used by the world’s most influential artists.

Aims

To enable students to become effective and authorative live and studio performers

To equip students with a comprehensive knowledge of a broad range of popular musical styles and related techniques

To acquaint students with comprehensive knowledge of professional protocols with respect to professional musicianship

Indicative Study Topics

The concepts of authenticity and attention to detail applied to musical performance,

Early performance styles, including Blues and Gospel performance styles of the 1950s and 60s. Styles covered include electric Blues, Rock & Roll, Soul and R&B

Performance styles of the Seventies to the present day. Styles covered include Classic Rock, Metal genres, Reggae, Funk, Jazz, Dance, mainstream Rock, and Indie.

Creative part writing: composition and performance of effective deadline-driven instrumental parts

Stylistic technical development: extending the range of technical development with respect to the effective performance of different musical styles

Teaching & Learning Methods

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

Formative Assessment

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


31

Learning Outcomes

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

skills

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Solo

Performance

Exam (2

Pieces)

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

2 Style File 1500

words 1 30% Formative W25

3

Solo

Performance

Exam (3

Pieces)

15 mins 1,2,3 40% Summative W26-W29

Assignment Brief

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

Your tutor will provide you with a full brief prior to the assessment.

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


32

2. Style File (1500 words)- Individual work

You will submit a 1500-word essay, to demonstrate your understanding of the stylistic requirements associated with the various types of music you have been asked to perform for your Solo Performance assessments, relative to your chosen instrument or discipline. You must -

Provide a rationale for why you chose the specific style or styles you did for your Solo Performance assessments;

Demonstrate an understanding of the requirements and characteristics indicative of those styles, relative to your chosen instrument or discipline;

Provide a reasoned practice and preparation methodology

It’s important you spread your work for this over three stages:

Preparing for your Week 18-19 Solo Performance exam Link your choice for the Week 18-19 Solo Performance exam to the Styles lesson content and any other relevant lessons i.e. what aspects of your lessons at BIMM informed your choice of track, your preparation and your performance in the exam itself?

Reflecting on your Week 18-19 Solo Performance exam How did your performance in the Week 18-19 exam go, based upon your own assessment of your performance and the feedback received. How effective was your preparation process? What lessons have you learned to inform future assessments?

Preparing for your Week 26-29 Solo Performance exam

Outline and Justify your choices for the week 26-29 Solo Performance exam, linking them to your week 18-19 Solo Performance exam and your studies throughout this module.

In addition:

Use appropriate academic reading and media sources to support your arguments: here describe artists that you have researched to achieve authentic style phrasing, mannerisms or techniques

Essays should include a minimum of two researched examples and cited quotations, together with a full bibliography using the Harvard Referencing System.

(Please see the General Assessment Regulations in this manual for “Submission of Written Work” and “Essay & Written Work Format”)


33

3. Solo Performance Exam – Individual work

The solo performance exam will take the form of a 15-minute practical styles assessment, during which students will be required to demonstrate their ability to perform in the various styles covered during the course.

Your tutor will provide you with a full brief prior to the assessment.

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

Assessment Criteria

Learning outcome Students will be assessed

on their ability to:

Assessment

method

1. Recognise the fine

detail in stylistic elements

in various styles of music

Select and rehearse appropriate material

for a solo performance

Write an articulate, well considered

essay, charting the styles that have

informed their chosen performance

pieces

Solo

Performance

Assessments

Style File

2. Apply sophisticated

stylistic conventions to

original part writing

Adhere to musical characteristics and

conventions of different musical styles

Compose and perform stylistically

appropriate parts on instrument or voice

in a solo performance

Solo

Performance

Assessments

3. Demonstrate

sophisticated stylistically

appropriate solo

instrumental or vocal

skills

Show considered and controlled musical

skills in performing a variety of pieces

Solo

Performance

Assessments


34

Reading List

Core texts:

BIMM Dublin 2016-17. BIMM BA2 (Hons) Course Handbook

Additional texts:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


35

DN/MM619 Techniques 2

Key Information

Course: BA (Hons) Commercial Modern Music


Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning



Self -Directed Learning: 163 Hours

Module Leader: Keith Farrell Tutors: Keith Farrell Dave Whyte Tine Verbeke Dave Hingerty

Module Summary

Closely linked to Styles 2, this module is designed to develop the student’s ability by honing advanced technique and therefore facilitating enhancement of the student’s musical vocabulary. As advanced technique develops, students will be able to execute more ideas within their chosen discipline and with greater dynamic control and accuracy. The study path encompasses various different concepts, techniques and applications, in preparation for the many different playing situations that may be encountered. A disciplined approach to regular practice is the key to success here, so the structuring of a focused and workable practice routine will be essential. The module is also designed to help you develop your ability to interpret industry standard notation in a wide range of musical settings.


36

Aims

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

demonstrate understanding of the practice requirements of the instrument or voice

To demonstrate advanced technical competence in applied settings


Developing personal expertise/advanced technical competence on instrument/voice

Professional tone generation and sound study (how to achieve a range of sounds)

Practice planning, critical review and time management Knowledge of professional practice and definitions of advanced technical

competence Referencing against professional advanced technical standards and

quantifying individual technical progression


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


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

Learning Outcomes

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

1. Critically review, plan and execute a practice routine to facilitate competent vocal or instrumental technique

2. Demonstrate advanced technical skill and an awareness of established musical conventions.


37

Assessment

No Summative

Assessment Methods

Length Learning Outcomes Addressed

Assessment Weighting

Formative/

Summative

Assessment Week

1

Technical Exercises, Viva & Sight Reading

15 mins 1,2 30% Formative W18-W19

2

Technical Exercises & Sight Reading

15 mins 1,2 70% Summative W26-W29

Assignment Brief

1. Technical Exercises, Viva & Sight Reading

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

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

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

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

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

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

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


38

Assessment Criteria

Outcome Students will be assessed on their ability to:

Assessment method

1. Critically review, plan and execute a practice routine to facilitate competent vocal or instrumental technique

Demonstrate understanding of the practice requirements of their instrument/voice.

Technical Exercises

(and Viva)

2. Demonstrate advanced technical skill and an awareness of established musical conventions

Exhibit appropriate technical competence to perform set musical exercises

Exhibit considered and controlled instrumental or vocal technique combined with a high degree of musicality, appropriate phrasing and dynamics.

Technical Exercises

(and Viva)


39

Reading List

Core Texts: BIMM Dublin 2016-17: BIMM Reference Manual (Vocals; Guitar; Bass; Drums).

Additional Texts:

Drums:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Guitar:


40

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

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

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

Journals: Music Week Magazine

Websites: www.youtube.com

www.snarescience.com

www.vocalist.org.uk

www.singers.com

www.singingsuccess.com

www.perbristow.com

www.virtualvoicelessons.net

www.ultimateguitar.com

www.funkychops.com

www.squidoo.com/bass_style

www.drumchannel.com

www.drummerworld.com

www.vicfirth.com/education

www.vater.com/education

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

http://www.youtube.com/

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

http://www.singers.com/

http://www.perbristow.com/

http://www.ultimateguitar.com/

http://www.funkychops.com/

http://www.squidoo.com/bass_style

http://www.drummerworld.com/

http://www.vicfirth.com/education

http://www.vater.com/education


41

DN/MM614 Essential Development Skills

Key Information


Module Code: BIMM 10

Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Tutors: Brian Dillon

Module Summary

This module consists of three components or learning arcs undertaken by both the instrumentalist stream and the songwriting stream. The components are designed to be a continuation of key skills addressed in BA1 and preparation for key skills required to enable the fulfilment of learning outcomes underpinning modules in BA3 and BA4. The indicative syllabus associated with each component will inform and aid the development of a broad skillset and encourage a spirit of curiosity and a desire to learn among students.

The individual module components are:

Cultural Theory, An Introduction Personal & Professional Development Research Methods, Academic Writing and Pedagogy, An Introduction


42

Aims

To help students develop their capacity to give, receive, and make productive use of peer feedback, and to improve the accuracy of their self-assessment

To offer an extended opportunity for students to develop their presentational and writing skills

To develop an awareness of, and a grounding in, aesthetics and philosophy of music

To develop an understanding of effective research techniques and methodology

To help students understand the cultural impact of musical originality and creativity in the context of social, political and economic history


Research methods in Higher Education, including research families, approaches and techniques

Working in an effective peer learning group / Action Learning Set Goal setting (outputs and outcomes); creating an informed development plan Aesthetics and the philosophy of music Postmodernism in pop and rock music Writing skills and articulation


Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning facilitated by the BIMM VLE and independent study and research.


Formative assessment will include opportunities to present research work in class with regular feedback, both written and verbal from tutors and peers.

Learning Outcomes

On completion of this module a successful student will be able to: 1. Demonstrate appropriate academic conventions 2. Plan an individual programme of personal and professional development 3. Articulate connections between cultural theories and modern music practices 4. Select and utilise appropriate research methods


43

Assessment

Assignment Brief

1. Presentation – 10 minutes (individual work)

You will be required to present a short analysis of one piece of music; the analysis must utilise at least one of the cultural theories covered in class during the first arc of learning. You must articulate a persuasive justification of the chosen theory’s connection to your selected piece of music.

2. Development Plan – 1000 words (individual work)

Plan and critically evaluate a programme of personal and professional development, referencing key topics addressed in this module. Discuss specific examples illustrating engagement with effective peer feedback you received during the module. Include citation of appropriate academic texts recommended by your tutor.

* N.B. This is a pass required assessment

3. Research Project – 1500 words (individual work) This is a project based on proposed research activity you will prospectively or partially undertake, based upon the introduction to research methods provided in the third arc of this module. It should reflect ethical research practice and planning, in accordance with the principles of data collection outlined in class. Your tutor will provide you with details of the elements which your project should include. * N.B. This is a pass required assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Presentation 10

mins 1,3 30% Formative W11/12

2 Development

Plan *

1000

words 2 30% Summative W18

3 Research

Project*

1500

words 1,4 40% Summative W27


44

Assessment Criteria

Outcome Students will be assessed


Assessment

method

1. Demonstrate

appropriate academic

conventions

Produce a coherent and clearly

argued piece of work,

demonstrating correct usage of

research, citation and referencing

Presentation

Research

Project

2. Plan an

individual programme

of personal and

professional

development

Show an informed approach to

planning personal and professional

development, providing an

appropriate explanatory framework

Development

Plan

3. Articulate

connections between

cultural theories and

modern music

practices

Present an argument relating

theory to practice through the

analysis of material from a chosen

artist

Presentation

4. Select and

utilise appropriate

research methods

Understand and apply primary

research methods and data

collection techniques

Research

Project


45

Reading List

Core texts: Bell, J. (2014). Doing Your Research Project. 6th edn. Maidenhead : McGraw-Hill Education.

Storey J., (2015). Cultural Theory and Popular Culture: An Introduction. 7th ed. London: Routledge.

Basco, M., (2010). The Procrastinator’s Guide to Getting Things Done. New York: Guilford Publications Inc.

Additional texts: Academic writing guides, study skills materials and additional texts are available on the BIMM VLE

Websites: Google Scholar: scholar.google.com


http://scholar.google.com/


46

DN/MM611 Applied Music Business and Study Skills

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning



Self- Directed Learning: 159 Hours

Module Leader: James Byrne Tutors: James Byrne

Module Summary

Designed to give the student an opportunity to explore the practical applications of the learning gained by undertaking the BIMM Music Business and Study Skills

Topics such as the formulation of a business plan and project management relating to topics (recording contracts, publishing contracts, artist management, music synchronization, music law, copyright, music teaching, merchandising and touring).

This module also includes a study skills element, designed to equip the student with the academic skills they will need for Higher Education study.


47

Aims

To understand and apply the principles behind creating a business plan To understand and apply the principals of project management To identify and examine current music industry structures and practices To introduce the student to appropriate HE study skills


Business planning Business start up Goal setting Project management Study skills: using the library, essay writing, Harvard Referencing


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


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

Learning Outcomes

On completion of this module a successful student will be able to: 1. Produce a logically structured business plan 2. Produce viable time bound project planning document 3. Demonstrate knowledge of the structure and mechanics of the music industry 4. Engage in an appropriate level of reading and research, demonstrating

appropriate academic conventions


48

Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1 Time bound project plan

1000 words

1,2,3,4 30% Formative W15

2 Business Plan

2500 words

1,2,3,4 70% Summative W26

Assignment Brief

1. Time Bound Project Plan (1,000 words) - Individual Work

Construct a business plan focusing heavily on the timeline displaying how you would take your music related business from early stages to launch.

Show within the plan how you will manage the various inputs to ensure a successful outcome.

Use this plan as a preparation for your second assignment, include brief overviews of all areas of your business under the key headings of a standard business plan.

Use appropriate academic reading, industry media source and case studies to support your arguments.

Much like a CV, a business plan adheres to a certain format, you may vary the way you present your business plan but it must include the core elements of a standard business plan (SWOT Analysis, Financial Projections, Timeline etc.) to help assess the viability of the business. Make sure to include in-text citations and a bibliography using the Harvard Referencing System.

2. Business Plan (2,500 Words) - Individual Work

Create a business model for a music related business:

Identify and evaluate a viable opportunity for a self employed entrepreneur to work successfully within the music business.

Research, prepare and submit a business plan that demonstrates an understanding of the format and conventions of basic business planning.

Use real world examples to support your case for the viability of the business

plan and examine opportunities for the business to develop ion the future.


49

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

*Please refer to the sections entitled “Submission of Written Work” and “Essay & Written Work Format” in the General & Assessment Regulations in this manual for further guidance on how to present and submit your written work.

Assessment Criteria


Assessment method

1. Produce a logically structured business plan

Demonstrate knowledge and understanding of key components within a business plans, including: personal role, aims, produces services, marketing, completion, cash flow, profit and loss, SWOT analysis

Project Plan

Business Plan

2. Produce viable time bound project planning document

Demonstrate a working knowledge of music project management including, recourse management, time management, financial control systems

Project Plan

Business Plan

3. Demonstrate knowledge of the structure and mechanics of the music industry

Apply practical business and project management topics to music related areas. Present a convincing case for the viability of your ideas

Project Plan

Business Plan

4. Engage in an appropriate level of reading and research, demonstrating appropriate academic conventions

Engage in the process of effective research by utilising library and online research sources

Produce a coherent and clearly argued essay, demonstrating correct usage of citation and referencing

Project Plan

Business Plan


50

Reading List

Core texts:

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

Business Start up guides (various) available from high street banks including Barclays and Natwest.

Additional texts:

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

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

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

Passman, D. (2004) All you need to know about the Music Business. London: Penguin.

Websites:

College Music Update: www.thecmuwebsite.com/daily/

BBC Radio 1’s Introducing: www.bbc.co.uk/music/introducing/

Record of the Day: www.recordoftheday.com

The British Phonographic Industry: www.bpi.co.uk

Bemuso: www.bemuso.com

MCPS/PRS Alliance: www.prsformusic.com

Music Tank: www.musictank.co.uk

Lee & Thompson: www.leeandthompson.com

The Future of Music Coalition: www.futureofmusic.org

Musicians Union: www.musiciansunion.org.uk

Soundcloud: www.soundcloud.com


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

http://www.bbc.co.uk/music/introducing/

http://www.recordoftheday.com/

http://www.bpi.co.uk/

http://www.bemuso.com/

http://www.prsformusic.com/

http://www.musictank.co.uk/

http://www.leeandthompson.com/

http://www.futureofmusic.org/

http://www.musiciansunion.org.uk/

http://www.soundcloud.com/


51

DN/MM616 Performativity and Live Music

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning

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



Module Leaders: Robbie Malone and Brian Dillon Tutors:

Johnny Boyle

Shelley Bukspan

Dave Magee

Ronan Yourell

Robbie Malone

Module Summary

Performativity and Live Music will supplement the skills already attained by students in BA1 Pre-Production and Live Performance Workshop, by expressing historical themes associated with influential genres covered in DN/MM607 Styles 1 and by introducing significant cultural theories associated and iterated within popular culture.

The module will consist of a series of thematic cycles, each beginning with a lecture based class, giving the student an overview of the social, political and philosophical nuances associated with key live performances and their subsequent cultural impact. A grounding in critical theory provided through content covered in DN/MM614 Essential Development Skills will also inform the approaches and discussion students are expected to undertake in Performativity and Live Music.

The module also takes the student through the process of effective live performance, from thorough individual preparation to live ensemble performance. It provides musicians with an opportunity to build upon the work undertaken in the previous Live


52

Performance Workshop classes. Students are expected to take full responsibility for preparing the track and to have a much greater understanding of detail within performance, refining the parts, consistency, timekeeping, and groove. They must also deconstruct assigned tracks and reinterpret the tracks through experimentation shaped by engagement with the cultural theories associated with each thematic cycle.

Musicians will be encouraged to develop confident professional performance techniques, creative flair, arrangement skills and the interpersonal skills necessary for effective communication, all of which are essential to professional preparation and performance.

N.B. If a track has two guitar parts, guitarists will be expected to learn both. If a track has no guitar parts, guitarists will be expected to create parts, be innovative with how the instrument is used, for example, by utilising various tunings and percussive approaches. Bassists should be prepared to be adaptable and innovative, where required. Similarly, if there are vocal harmony parts, singers should be prepared to learn all parts; if a track has no vocal parts, then vocalists may be required to create original parts. Drummers should have an awareness of any additional percussion parts and be prepared to play them. All students must be prepared to perform in class each week; however, if a student does not perform, participation will be through contributing to an ongoing dialogue relating to the themes of the module.

Authenticity, creativity and attention to detail are expected and musicians are expected to make every reasonable effort to use appropriate instruments, effects and to be prepared to a) enter into the spirit of the original work, and to b) reinterpret the original work through a focus on creativity and experimentation.

Aims

To understand how to take full responsibility as an individual for preparing musical work to a professional standard quickly and effectively

To understand and employ effective live performance techniques, including ensemble skills, rehearsal methods and MDing

To interpret tracks with energy, confidence and imagination and personality To understand the component parts of a technically proficient authentic and

musical performance To effectively give and receive feedback to improve musical ability in

performance


Popular music and historical events, including the impact of war and economic depression in twentieth century popular music

Technological change: how did the development of new technologies shape emerging genres in popular music?

Popular music and gender, including the impact of key writers and performers Popular music and people’s beliefs: how have genres in music been

influenced by prevailing religious practices? Using musical reference material effectively and accurately to facilitate

authentic performance


53

Critical listening to facilitate greater understanding of individual musical contributions

Playing as an effective unit/ensemble Understanding of personal/ensemble dynamics in rehearsal and performance Listening to other members of the ensemble effectively and communicating on

stage Developing confidence as a stage performer (and learning to control

nerves/anxiety) Reflective practice and analytical skill as they apply to performance


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

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


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

Learning Outcomes


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

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

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

4. Demonstrate an ability to critically analyse a variety of performance styles and their respective themes


54

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Ensemble

Performance

Exam (one

song)

10 mins 1,2,3 25% Formative W20

2

Ensemble

Performance

Exam (two

songs)

10 mins 1,2,3 50% Summative W27

3 *Thematic

Journal

1000

words 4 25% Summative W23

*N.B. – Assessment 3 Thematic Journal is a pass required assessment

Assignment Brief

1. Ensemble Performance – Group / Individual work

You will need to assemble a band of BIMM students to deliver an accurate and artistic performance of one song at the BIMM end-of-term gig auditions.

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

permitted. For clarification contact reception and they can advise.You need to book your audition slot at BIMM reception by the end of the week prior to the assessment.

Please take note of the following points, which also apply to the end of term gig, and will help you achieve higher grades:

Performances need to be creative, confident, well-considered and expressive Presentation is important and should be considered Well-chosen, appropriate song(s) is/are essential.

You will be expected to get on and off the stage in a professional manner, and introduce your own performance.

Your tutors will be looking for evidence of professionalism, preparation, performance, creativity, playing out to the audience and a considered approach to communication with fellow band members on stage.


55

2. Ensemble Performance – Group / Individual work

You will need to assemble a band of BIMM students to deliver an artistic performance of two songs at the BIMM end-of-term gig auditions. You should introduce your performance with a clear articulation of why you are performing the two songs and how your choice was influenced by aspects of the themes addressed in the module throughout the year. Authenticity of thought and performance is encouraged.

3. Thematic Journal – Individual work You will submit a 1000 word journal which examines and critiques content covered during the year. You will present a clearly written piece of work demonsrating on-going conceptual development and critical thinking. Written contributions to the journal should be made throughout the academic year, with your final submission focusing on one or more themes encountered during the module. You may argue for or against cultural theories discussed in class with clear reference to performance styles and performative approaches. Critical awareness and analytical ability are crucial characteristics of effective creative professionals, and this journal should act as an archive of your development in this respect over the course of the year. Additonal details will be provided by your tutor.


56

Assessment Criteria

Reading List

Core texts:

Storey, John (2013) Cultural Theory and Popular Culture: An Introduction. 6th edn. London: Routledge.


Additional texts:

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



Assessment

method

1. Work independently to

apply necessary

preparation and

rehearsal skills for

effective live ensemble

performance

Select, rehearse and perform suitable

ensemble repertoire

Organise and take part in a musical

performance in a professional and

reliable manner

Live

Performances

2.Demonstrate technical

instrumental or vocal

skills for effective live

ensemble performance

Effectively arrange and perform original

or cover compositions with other

musicians

Live

Performances

3.Demonstrate

appropriate

presentational and

interpersonal skills within

live ensemble

performance

Communicate with fellow band

members and perform out to an

audience in context to the music being

performed

Exhibit an appropriate quality of control,

confidence and self-presentation in

performance.

Live

Performances

4.Demonstrate an ability

to critically analyse a

variety of performance

styles and their

respective themes

Effectively articulate opinions on live

performances and their respective

themes, including thoeries discussed

during the module, utilising academic

conventions and critical analysis skills.

Thematic

Journal


57

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

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

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



58

DN/MM612 Applied Theory, Transcription and Keyboard

Skills

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader / Tutor: Sarah Lynch Tutors: Sarah Lynch David Conway Karl Breen Tully Gunawardhana

Module Summary

This module provides the student with an opportunity to consolidate, develop and apply the music theory concepts studied in DN/MM604 ‘Theory, Notation and Keyboard Skills. It will facilitate further the development of aural transcription skills, along with a more detailed study of the theory behind the music, including practical applications of theoretical concepts to better prepare the student for the range of musical situations they are likely to encounter as professional musicians.


59

Aims

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

To enable the student to analyse and perform original and standard musical excerpts and apply and evaluate music theory concepts

To facilitate the development of practical musicianship skills essential to meeting the demands of the workplace

To explore further the concepts of rhythm and pitch recognition To enable students to create professional musical charts and understand how to

accurately read and write dynamics and performance directions. To further explore the concept of voice leading, 4 – part harmony, and to

compose, analyse and transcribe diatonic and non – diatonic chord progressions.


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

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

chords and their inversions, voice leading, modulation, modal scales, altered chords and scales

Rhythm: simple, compound, and odd time signatures, polyrhythm Basic Arranging: the roles that guitar, bass, drums, and vocals play in various

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

Arranging: the roles that brass, woodwind, strings and percussion instruments play in various genres in contemporary music and how music for these specific instruments is notated

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

Chart Reading and Writing: includes working through professional music charts and understanding how to accurately read dynamics and performance directions


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

Formative & Summative Assessment

Formative assessment will include playing in class time and individual tutorials, which will be available to all students. Formative assessment will also enable students to highlight areas for improvement before formative and summative assessment in weeks 12, 21/22 and 28.


60

Learning Outcomes

On completion of this module a successful student will be able to: 1. Identify and interpret industry standard notation.

2. Recognise and transcribe musical features such as rhythmic devices, harmonic progressions, melodic contour, and instrumentation

3. Identify, analyse, and apply music theory concepts

Assessment

No Summative

Assessment

Method

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Keyboard

Skills and

Viva Voce

10mins

1,2,3 15% Formative W12

2 Keyboard

Skills and

Viva Voce

10mins 1,2,3 25% Formative W21/22

3 Written and

Aural Exam

2hrs 1,2,3 60% Summative W28

Assignment Brief

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

Students will be asked to-

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

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

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

2. Written and Aural exam (2 hrs) - Individual work

This exam will- i. Test the student’s ability to identify, analyse, and notate music theory

concepts. ii. Test the students ability to aurally recognise, analyse and transcribe a range

of melodic and harmonic musical elements.


61

Assessment Criteria



Assessment

method

1. Identify and

interpret

industry standard

music notation

Correctly interpret elements of

contemporary music from examples

written in standard musical notation

Keyboard

skills and viva

Voce

Written and

Aural exam

2. Recognise and

transcribe musical

features such as

rhythmic devices,

harmonic

progressions,

melodic contour,

and

instrumentation

Accurately notate melodic, harmonic

and rhythmic features on a limited

number of hearings

Keyboard

skills and viva

Voce

Written and

Aural exam

3. Identify, analyse,

and apply music

theory concepts

Recognise theoretical concepts from

written music

Analyse compositional excerpts and

label compositional techniques using

industry standard terminology

Keyboard

skills and viva

Voce

Written and

Aural exam


62

Reading List

Essential Reading:

BIMM Dublin. 2016-2017. BIMM Reference Manual Nestico S 2007 The Complete Arranger (Revised Edition) Fenwood Music Co. Inc

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

Supplemental Reading:

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

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

Celentano, D. (2005) Guitar Transcribing: A Complete Guide. Milwaukee: Hal

Leonard.

Harrison, M. (1999) Contemporary Music Theory Volume 1-3. Milwaukee: Hal

Leonard.

Perricone, J. (2000) Melody in Songwriting. Boston: Berklee Press.

Scott, R. J. (2003) Chord Progressions for Songwriters Writers Club Press

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

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

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

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

Wyatt, K. (2005) Ear Training. Milwaukee: Hal Leonard.

Websites: www.good-ear.com www.moneychords.com www.musictheory.net www.spytunes.co.uk www.chordacus.com www.iwasdoingallright.com


http://www.good-ear.com/

http://www.moneychords.com/

http://www.musictheory.net/

http://www.spytunes.co.uk/

http://www.chordacus.com/

http://www.iwasdoingallright.com/


63

DN/MM617 Songwriting Techniques 2

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader / Tutor: Louise MacNamara

Module Summary

This module builds upon the learning within Songwriting Techniques 1 and deals with the further development of creative ideas and turning them into finished songs. Topics include hooks, subject matter, lyric writing, song form and structure, elementary arrangement and basic studio production techniques, as used by some of the world’s most successful composers.

This module will allow the student to further develop the tools required to put creative energy into practice, inspiring them to engage in compositional techniques to improve their skills as a songwriter.


64

Aims

To develop professional compositional technique To develop skills that help create effective melodic composition To write more effective and expressive lyrics To understand and utilise techniques that will further develop songwriting

skills To be able to work to a strict and precise brief To be able to respond positively to criticism and feedback as a reflective

practitioner To be able to create effective working practices


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


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


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

Learning Outcomes


1. Develop further original melodic, rhythmic and harmonic ideas

2. Create sophisticated original compositions using instrumental and lyrical

combinations to a commission

3. Analyse the process of developing original compositions and arrangements


65

Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1

Composition (2 songs) and written summary

1500 words + recording

1,2,3 30% Formative W17

2

Composition (2 songs) and written summary

1500 words + recording

1,2,3 70% Summative W26

Assignment Brief

1 & 2 Composition Portfolio (2 songs) and written summary (1500 words) – Individual work

Write, arrange and record two songs and provide a written summary (1500 words) outlining details of the style and genre you have chosen and the songwriting techniques you have employed.

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

Your analysis of the compositions should discuss and justify some or all of the following elements:

• Structure and form

• Chord progressions, inversions and voicings

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

• Musical and lyrical theme development

• Rhythmic and tempo considerations

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


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Assessment Criteria


Assessment method

1. Develop further original melodic, rhythmic and harmonic ideas

Create melodic, rhythmic and harmonic ideas from different stimuli

Generate original melodies and hooks

Composition Portfolio

2. Create sophisticated original compositions using instrumental and lyrical combinations to a commission

Manipulate and develop musical ideas using different compositional techniques

Create original compositions meeting the brief of the commission

Create compositions in different forms


3. Analyse the process of developing original compositions and arrangements

Evaluate the rational and methodology behind the development of original compositions



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Reading List

Core texts:

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

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

Additional texts:

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

Pattison, P. (1996) Writing better lyrics. Cincinnati: Writers Digest.

Websites:

www.songwritingopportunities.com


http://www.songwritingopportunities.com/


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DN/MM613: Arrangement Analysis

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning




Module Leader / Tutor: Colm Quearney

Module Summary

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

The module content will broaden the vocabulary for writing, arrangement and production, providing the skills and aptitudes necessary for lifelong learning in this field. Students will be presented with the opportunity to reconceptualise the compositional approaches of contemporary songwriters that are covered in class.


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Aims

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

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

To enable learners to better identify the key stylistic influences on artists. To enable learners to better understand the historical and social context of the

composers approach to songwriting. To learn by example so as to improve the learner’s own songwriting and

motivate them to take a wider, more knowledgeable view of music. To create a portfolio of work that demonstrates an understanding of key

stylistic traits of artists & genres featured on the module. To integrate theory knowledge as a way of deconstructing and understanding

artists & genres.


Analysis of scores and chord charts classic tracks Looking at genres and their origins Specific study of technical/arrangement ideas Analysis of the complex web of musical and non-musical influences on a

given track A look at how production techniques and the recording studio has impacted

song composition Using artists and their work to provoke a social/historical discussion


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


There is a strong emphasis on formative assessment, which will include verbal tutor and peer feedback. Throughout the module there will be an opportunity to discuss the progression of your portfolio.

Individual tutorials will be available for each student to discuss their portfolio.

The tutor will also set weekly exercises and briefs and information will be communicated to students in class and via the VLE.


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Learning Outcomes


1. Analyse in detail the musical arrangement techniques exhibited by established composers 2. Plan, undertake and evaluate a portfolio of arrangement devices 3. Appraise the principal stylistic elements of popular music recordings

Assessment

No Summative

Assess-ment Methods



Formative/

Summative

Assessment Week

1 Portfolio

Portfolio + 1500 word supporting document-ation

1,2,3 100% Summative W26

Assignment Brief

1. Portfolio – Individual work

You are required to submit a portfolio of material utilising various arrangement

methodologies in a variety of musical styles, in response to the material covered in

class.

In addition you should provide supporting documentation in the form of a contextual

introduction, justification of approach to each brief, and a reflective conclusion (1500

words).

Further information will be made available from your tutor prior to the assessment.


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Assessment Criteria

Reading List:

Core texts:

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

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

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

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

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

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

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

Additional texts:

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

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

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

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

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


Assessment method

1. Analyse in detail the

musical arrangement techniques exhibited by established composers

Critically examine techniques used in commercially successful compositions and arrangements

Arrangement Analysis Portfolio

2. Plan, undertake and evaluate a portfolio of arrangement devices

Compile a portfolio of material utilising various arrangement methodologies in response to the material covered in class


3. Appraise the principal stylistic elements of popular music recordings

Analyse the instrumentation and production techniques utilised in popular music



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

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

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

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

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

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

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

Websites:

www.therestisnoise.com

Google Scholar: scholar.google.com


http://www.therestisnoise.com/


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DN/MM615 Live Performance Workshop (SW)

Key Information



Module Level: 6

Module Credits: 10


Module type: Core

Teaching & Learning

Lectures: 21 x 2 Hours



Module Leader: Ro Yourell Tutors: Phil Christie Louise Macnamara Ro Yourell

Module Summary

This module is shaped by two learning arcs. The first, takes students through the process of arranging and rehearsing their compositions to a standard suitable for public performance. It provides musicians with an opportunity to apply the

knowledge and skills acquired in Arrangement Analysis and Artist Development and Entrepreneurship.

The Pre-production component aims to equip writers with the creative impetus, analytical and communication skills needed to effectively MD a band and take a song or set from inception to finished product, fully arranged and rehearsed ready to gig or record. Preparation time will be limited and musicians will be expected to take full responsibility for preparation for this class, arriving with appropriate reference material, charts and lyric sheets.

The Live Performance Workshop component offers writers/performers the opportunity to further develop the prepared material to a standard suitable for live performance before an audience. In this class, performers will be put with the BIMM House Band and expected to direct the rehearsals up to a fully competent performance. Students will be encouraged to develop confident leadership skills, performance techniques, arrangement skills and the interpersonal skills necessary


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for effective communication, all of which are essential to professional preparation and performance.

Both of these classes aim to encourage professional attitudes in pre-production and performance, while fostering creativity and individuality.

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

In the second arc, informed by cultural theory encountered in the Essential Development Skills module, students will be challenged to consider the nature of popular song-writing and performance, and to actively engage with it through their own practice.

Through individual and collaborative work, students will be supported in exploring the artists they are and would like to be, as they move forward in their creative journeys.

Aims

To develop the necessary leadership skills to operate as an effective MD. To develop the vocabulary to lead professional musicians from arrangement

through to performance in an analytical environment. To arrange and perform original material to a high standard quickly and

effectively. To interpret arrangements and performances with dynamics, creativity and

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

and engaging performance. To apply concepts from cultural theory to song-writing and performance. To effectively give and receive feedback, and implement this in an effective

manner to improve musicality and ability in performance.


Using musical reference material effectively and accurately to enhance arrangements.

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

situations. Performing as an emotive and committed musician. Listening to the members of the ensemble effectively and communicating on

stage. Experimenting with subject matter, and musical and performance stylings. Developing confidence as a stage performer (and learning to control

nerves/anxiety). Reflective practice and analytical skill as they apply to arranging and

performance.


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

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


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

Learning Outcomes

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

performance 2. Perform original compositions as an ensemble 3. Demonstrate appropriate presentational and interpersonal skills acting as a MD

within live ensemble performance

Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Musical

Direction

Exam

20 mins 1,2,3 60% Formative W14

2

Ensemble

Performance

Exam

10 mins 1,2,3 40% Summative W25


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Assignment Brief

1: Musical Direction Exam You will have a specified time slot of 30-minutes with your examiners present, in which you will be asked to work with a house band on a set composition. The track will be fully composed (top line melody and lyrics) and partially formed as an arrangement. You will be asked to lead and direct the musicians in a way that results in a successful ensemble arrangement. You will have limited time and will need to be decisive and give clear directions to the musicians. You will need to consider issues such as:

• Musical direction

• Setting clear goals

• Harmonic structure on the track

• Groove and tempo

• Individual parts

• Arrangement

• Percussion, backing vocals, etc.

• Performance

2: Live Performance You will have a specified time slot in which you will be asked to perform an original composition of your choice with other musicians. You will be required to provide a short verbal introduction/rationale, outlining how your engagement with cultural theory has informed your composition and performance. Your assessor will be looking for evidence of thorough preparation and performance skills such as:

• Pre-Production

• Confidence

• Stylistic awareness

• Musicality

• Creative arrangement

• Effective dynamics

• Communication


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Assessment Criteria

Reading List

Core texts:

Byrne, David (2017) How Music Works. New York: Three Rivers Press.

Rooksby, R. (2007) Arranging Songs: How to Put the Parts Together. New York: Backbeat Books.

Additional texts:


Cameron, Julia (2012) The Artist’s Way: Spiritual Path to Higher Creativity. London: Souvenir Press.



Assessment

method

1. Apply necessary

preparation and

rehearsal skills for

effective live ensemble

performance.

Prepare detailed lead sheets and

demonstrate a keen grasp of song

structure, top-line melody and lyrics.

Select, rehearse and perform suitable

ensemble repertoire.

Musical

Direction

Live

Performance

2. Perform original

compositions as an

ensemble.

Successfully achieve an ensemble

performance of original composition,

within the allocated time.

Effectively arrange and perform original

compositions with other musicians.

Musical

Direction

Live

Performance

3. Demonstrate

appropriate presentation

and interpersonal skills

acting as a MD within

live ensemble

performance.

Demonstrate high level communication

skills in directing the house band and

performing to an audience.

Communicate with fellow band

members and perform to an audience

in the context of the music being

performed.

Musical

Direction

Live

Performance


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

Fisher,J. & Kayes, G. (2016) This is a Voice: 99 Exercises. London: Welcome Collection.

Delamont, Gordon (1965) Modern Arranging Technique. New York: Kender Music.

Additional resources:

DVD Beatles Anthology Apple 1997

DVD The Band – The Last Waltz MGM 1978

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

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

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

advise you on any updates.


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Overview

The course is designed specifically for performing artists, songwriters, music teachers, and those running commercial music projects, who want to gain a degree level qualification while at the same time fulfilling their creative and commercial potential. The course encourages musicians to develop realistic and attainable career goals using a deadline-driven project element to bring focus to the individual’s aspirations.

Students have an obligation to develop their critical, analytical and reflective faculties. This is pursued while developing the high levels of technical musicianship required of professional musicians.

Alongside the attainment of these high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including practice logs, reflective elements, learning diaries and various forms of research project.

Musicians are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Education Manager and the individual student.

Recognising the need for musicians to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:

Technical awareness and competence Performance awareness and competence Project management and music business studies Research methods Commercial composition and arrangement

A consistent theme throughout the course is reflection, requiring students to examine and learn from their experiences. The goal of the course is to assist musicians in becoming life-long, self-reliant learners, capable of determining their own future and professional progression.


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Educational Aims

The course aims to provide graduates with the knowledge and skills appropriate to a range of career outcomes in the music industry. Students are encouraged to develop their individual creative ability and support this with the development of a high level of technical skill. In particular, the course aims to enable students to develop:

A range of physical, creative, technical and performance skills relevant to employment in professional musicianship and the creative industries

An understanding of the key critical, social, cultural, historical and business concepts, issues and debates relevant to the area of modern music, and to organise and sustain an argument

A comprehensive knowledge of contemporary practice for careers in the music business and the creative process in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in music and the music industry

The ability to make creative use of and experiment with new and existing methodologies in contemporary professional musical practice

A clear understanding of where their creative strengths lie and how these can be utilised in the music industry and potential career opportunities

Skills in research, analysis, problem solving and critical reflection and the visual, written and verbal communication skills required of a graduate entrant to the music industry

Initiative and personal responsibility, experience of collaborative working methods and the ability to be responsive and adaptable to changing needs and the transferable skills and competencies which enable lifelong learning within the context of professional musicianship

Transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry

To describe, comment upon, analyse and discuss particular aspects of current research or equivalent advanced scholarship at the forefront of contemporary popular music and the music industry

An appreciation and recognition of the uncertainty, ambiguity and limits of knowledge within music and the music industry

The ability to manage and organise their own learning, and to make use of scholarly reviews and primary sources, such as research articles and/or original materials appropriate to professional musicianship.


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BA Year 1 & 2 Level 6 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of key issues in their area(s) of study

A2. Identify practices and structures within professional contexts

A3. Learn and apply new concepts within a variety of contexts

A4. Identify and reproduce symbols representing music and apply aural skills

Intellectual (thinking) skills Able to: B1. Communicate ideas clearly via visual, verbal and written modes of expression

B2. Analyse information and summarise concepts

B3. Explore a range of appropriate reading material and discuss the findings

B4. Acknowledge quotations from other’s work

Subject practical skills Able to: C1. Demonstrate appropriate technical skills in relation to instrumental or vocal performance or in composition

C2. Implement appropriate forms of musical expression, demonstrating an awareness of spiritual or emotional elements

C3. Reproduce key aspects of musical styles and genres

C4. Apply skills necessary to performing music

C5. Demonstrate awareness of professional protocols and practices

Key/Transferable skills Able to: D1. Employ Information and Communication Technology (word-processing, e-mail, online sources and other electronic information services) appropriately

D2. Undergo disciplined professional development: practice, learn new repertoires, obtain new skills, identify career options

D3. Employ initiative and time management skills to carry creative and other projects to completion

D4. Present work in public, as appropriate to a range of professional contexts

D5. Utilise interpersonal skills to communicate ideas clearly and unambiguously within collaborative contexts

D6. Identify career options and access routes to employment within a variety of appropriate contexts

D7. Evaluate one’s own work to inform further professional development


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BA Yr. 3 Level 7 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of the key issues in their area(s) of study, and an appreciation of why these areas are important

A2. Identify, decode, rework and reproduce symbols representing music

A3. Digest pertinent academic literature and relate it to music practice

A4. Apply concepts from fields of study to a related area of practice

A5. Make connections between the historical, social, cultural, political, philosophical, economic context of music

Intellectual (thinking) skills Able to: B1. Collect, combine and appraise information, using quotes from appropriate texts

B2. Analyse information to create and evaluate relevant arguments and ideas

B3. Acknowledge quotations and ideas from other’s work and question their hypotheses and assumptions

B4. Conceptualise and apply pertinent theories and concepts in relation to their own work

Subject practical skills Able to: C1. Demonstrate technical proficiency and sustained application of skills in relation to instrumental or vocal performance or in composition

C2. Identify the human mechanics and psychology involved in playing an instrument or singing

C3. Implement appropriate forms of expression to perform music convincingly

C4. Identify musical styles and genres aurally or by written score

C5. Utilise appropriate musical equipment for creating music

C6. Perform effectively as part of an ensemble

Key/Transferable skills Able to: D1. Employ information and communication technology (word processing, e-mail, online sources and other electronic information services) appropriately

D2. Present work in public, recognising audience expectations

D3. Use appropriate professional procedures

D4. Utilize disciplined professional development: practice, learn new repertoires, explore freelance opportunities, obtain new skills, initiate career moves

D5. Apply time management skills to demonstrate reliability and consistency


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BA Yr. 4 Level 8 Course Learning Outcomes

Knowledge and understanding Able to: A1. Demonstrate comprehension of key aspects in their field of study based on the latest advances in their discipline

A2. Evaluate theoretical and aesthetic concepts, relating them to practice

A3. Draw upon a varied repertoire

A4. Discover and assimilate new musical sounds, concepts and repertoires

Intellectual (thinking) skills Able to: B1. Synthesise techniques of analysis and enquiry using established procedures

B2. Discuss, debate and appraise issues in current research and scholarship

B3. Acknowledge and evaluate the imperfections and limits of understanding within the discipline

B4. Combine inputs (materials, knowledge, intuition, convention) to generate informed and original outputs in written, aural and practical work

B5. Propose, prepare, execute and appraise original work

Subject practical skills Able to: C1. Compose or select a performance repertoire that demonstrate stylistic versatility and personal strengths

C2. Employ original ideas in an imaginative way

C3. Draw upon contextual knowledge, musical analysis, personal development and listening skills to creatively interpret the chosen repertoire

C4. Execute work effectively, acknowledging and responding to an audience

Key/Transferable skills Able to: D1. Direct their own learning, drawing on scholarly material such as research articles and/or original materials

D2. Work as a productive member of a team, responding to others and demonstrating awareness of partnership and leadership roles and responsibilities

D3. Synthesise original concepts from others, and present the results effectively

D4. Employ self-guided learning and work routines to create one’s own timetables, ensuring sufficient preparation time and meeting deadlines

D5. Apply problem-solving skills to cope with new situations, translate information and ideas, manage difficult situations, and work effectively with others under pressure

D6. Use reflective practice and critical thinking to undertake informed personal, academic and professional development.


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Core Structure Diagram – Instrumental Stream *For simplicity & clarity we have separated Instrumental & songwriting streams

Year One Students take 6 modules. All modules are year-long and are mandatory.

Module Title Module Code

Credit points

Styles 1 DN/MM607 10

Techniques 1 DN/MM609 10

Music Business & Study Skills DN/MM603 10

Artist Development and Entrepreneurship

DN/MM601 10

Live Performance Workshop DN/MM605 10

Music Theory and Keyboard Skills DN/MM604 10

Year Two - Higher Certificate Award Attainable Students take 6 modules. All modules are year-long and are mandatory.

Module Title Module Code Credit points

Styles 2 DN/MM618 10

Techniques 2 DN/MM619 10

Applied Music Business & Study Skills DN/MM611 10

Essential Development Skills DN/MM614 10

Performativity & Live Music DN/MM616 10

Applied Music Theory, Transcription & Keyboard Skills

DN/MM612 10

Year Three – Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold. Students select two from six elective modules, one from Group A and one from Group B. All modules are year-long.


Credit points

Research Methods DN/MM707 10

Professional Musicianship DN/MM706 10

Cultural Perspectives DN/MM703 10

Advanced Music Theory & Arrangement

DN/MM701 10

Electives Group A

Performance in Context DN/MM705 10

Studio Musicianship DN/MM708 10

Digital Marketing in the Music Business

DN/MM711 10

Electives Group B

The Songwriter/Producer DN/MM710 10

Studio Recording DN/MM709 10

Music Publishing DN/MM704 10


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Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select three from seven elective modules which must include one module from Group A and one module from Group B. All modules are year-long.


Credit points

Pathway A

Professional Project Major DN/MM810 20

Analytical Perspectives Minor DN/MM801 10

Pathway B

Analytical Perspectives Major DN/MM802 20

Professional Project Minor DN/MM809 10

Electives Group A

Commercial Songwriting DN/MM803 10

Solo Performance DN/MM811 10

Ensemble Performance DN/MM805 10

Options Group B:

Music Business Studies DN/MM806 10

Music Teaching Practice DN/MM807 10

Professional Development DN/MM808 10

Composition and Analysis DN/MM804 10


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Core Structure Diagram – Songwriting Stream

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


Songwriting Techniques 1 DN/MM606 10

Styles Analysis DN/MM608 10

Music Business & Study Skills DN/MM603 10

Artist Development and Entrepreneurship

DN/MM601 10

Live Arrangement Workshop DN/MM602 10

Music Theory and Keyboard Skills DN/MM604 10

Year Two - Higher Certificate Award Attainable Students take six modules. All modules are year-long and are mandatory.


Songwriting Techniques 2 DN/MM617 10

Arrangement Analysis DN/MM613 10

Applied Music Business & Study Skills DN/MM611 10

Essential Development Skills DN/MM614 10

Live Performance Workshop (SW) DN/MM615 10

Applied Music Theory, Transcription & Keyboard Skills

DN/MM612 10

Year Three - Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold and students select one from four elective modules. All modules are year-long.


Research Methods DN/MM707 10

Cultural Perspectives DN/MM703 10

Advanced Music Theory & Arrangement DN/MM701 10

Music Publishing DN/MM704 10

The Songwriter/Producer DN/MM710 10

Electives 10

Digital Marketing in the Music Business DN/MM711 10

Performance in Context DN/MM705 10

Studio Musicianship DN/MM708 10

Studio Recording DN/MM709 10


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Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select two of six elective modules, one from Group A and one from Group B. All modules are year-long.


Pathway A

Professional Project Major DN/MM810 20

Analytical Perspectives Minor DN/MM801 10


Pathway B

Analytical Perspectives Major DN/MM802 20

Professional Project Minor DN/MM809 10


Electives Group A

Ensemble Performance DN/MM805 10

Solo Performance DN/MM811 10

Music Business Studies DN/MM806 10

Electives Group B:

Music Teaching Practice DN/MM807 10

Professional Development DN/MM808 10

Composition and Analysis DN/MM804 10


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Major Themes

The curriculum is designed to mimic the learning experiences that a young artist or professional musician would experience within their apprenticeship in the industry. With this in mind, the courses are offered within specialist disciplines and focus is placed on the development of high-level instrumental skills. Alongside these skills students develop key business, personal and academic skills in a way that designed to equip them to be reflective and entrepreneurial practitioners.

A summary of the major themes present in the BA course is presented in the diagram below:

Major Themes for BA Commercial Modern Music

Instrumental or Songwriting skills

Technical & transferable skills - Teamwork, Music equipment, IT, communication & presentation

Performance and Production skills

Business & management (personal & project) skills

Academic skills - history & context, research, critical analysis & synthesis

Music theory, aural and notation skills

Documents

Course Handbook 2018-2019 BA (Hons) in Commercial Modern … · 2018-10-31 · 10 26/11/2018 EOT Gig Auditions 11 03/12/2018 Presentation 12 10/12/2018 Presentation EOT Gig Keyboard