Section 1: BASIC INFORMATION 1.1 1.2 1.3 1.4 1 · 1 | Page BA (Hons) Creative Music Production and Sound Engineering (v1) Section 1: BASIC INFORMATION 1.1 Awarding Institution: Plymouth

1 | Page BA (Hons) Creative Music Production and Sound Engineering (v1)

Section 1: BASIC INFORMATION 1.1 Awarding Institution: Plymouth Marjon University

1.2 Teaching Institution: dBs Berlin

1.3 Locus of Delivery: Berlin, Germany

1.4 Final Award Title: B.A (Hons)

1.5 FHEQ Level: Level 4, 5, 6

1.6 Programme Title: Creative Music Production and Sound Engineering

1.7 Mode and Duration of Study: Full Time (not available part time)

1.8 UCAS Code(s):

1.9 Admission Criteria:

Normal University entrance criteria apply (please refer to the website for further details).

International students are expected to meet the English language requirements of IELTS 6.0 or equivalent.

1.10 Accrediting Professional Body/ PSRB: N/A

1.11 QAA Subject Benchmarking Group(s): Music

1.12 Other External Points of Reference:

Framework for Higher Education Qualifications (FHEQ)

1.13 Language of Study (for learning, teaching and assessment): English

1.14 Work-Based Learning Arrangements:

Work based learning is embedded throughout the programme

1.15 Foundation Degree Progression Routes: N/A

1.16 Arrangements for Distance Learning: N/A

1.17 Original Date of Production: September 2017

1.18 Date of Commencement: September 2018

1.19 Review Date: August 2023


2. Programme Outline Our flagship Creative Music Production & Sound Engineering Bachelor Degree is a profound, focussed and innovative course that provides students with the opportunity to hone their craft as a sound engineer, a music producer and a master of music technology. Participants will compose, record, mix, produce and master their own and other’s work through developing a comprehensive knowledge of industry standard tools, technical know-how and creative technique. Participants will explore and establish their own distinct approach as a sound engineer and music producer in order to begin a successful career in the contemporary freelance music industry. Workshops throughout the programme include but are not limited to; Recording, Mixing, Mastering, Acoustics, Audio Production, Music Production, Composition, Arrangement, Musicology, Sound for Media, Songwriting, Artist Development, Sequencing, Synthesis, Sampling. The Level 4 HE Certificate year focuses on project based learning and community building through a set of shared SYNC modules with the aim of promoting collaboration opportunities between class groups and schools. Participants will be engaged in a process of portfolio creation and curation and will be assessed on this work throughout each semester. They will also be engaged in the process of critical reflection and contextualisation through a series of theoretical workshops, seminars and tutorials. The Level 5 HE Diploma year provides a distinct focus on the specialist subject area through a set of programme specific modules. These specialist modules carry subject specific learning outcomes and will require the participants to carry out higher level creative and critical project work. Throughout the second semester participants will begin to define their own focus for study in preparation for the honours year. In support of this, the BIND01 and BIND02 modules will engage the students in a real world brief with workshops covering research methods and academic practice, and entrepreneurship and enterprise respectively. The Level 6 Honours year focuses on the production of a final major project in which participants are required to design and set out their own brief in collaboration with their supervisor. This high level project should demonstrate all prior learning and should provide for a launch into industry or further study. Running alongside the creative work, participants will be engaged in an iterative process of research and development which will in turn feed into their creative work. This process will culminate in a detailed honours level research portfolio that will support and further their academic approach to creative production. Level 6 also features a choice between two module paths. 1 - PUSH04 Process and 2 - PUSH05 Dissertation. Upon successful completion of the programme students are eligible to continue their study at Plymouth Marjon University through the Master’s programme or to continue postgraduate study elsewhere.

2.1 Integrating Sustainability into the Curriculum dBs Berlin is committed to tackling sustainability issues and thinking, and supports ‘green’ policies wherever and whenever possible. Whilst this subject area does not directly address the effect of environmental change, the programme aims to encourage its participants to make a positive contribution to the world with an awareness of the limitations of its resources.


3. Distinctive Features The programme features 40 credit practical modules in each semester which are supported by a series of workshops, seminars and tutorials. These double credit modules support the creation of a public facing portfolio of works that progresses in both scope and scale throughout the programme. Framework The programme sits within a core framework. The intention with this design is to promote cross discipline collaboration between programmes, allowing for students to submit collaborative work for assessment. The second year holds programme specific modules that provide a defined focus and differentiation. Two distinct module streams provide a clear progression through the programme and display the balance between practical creation and critical reflection.

x Practice: These 40 credit modules focuses solely on the production of creative work with a mixture of guided and self-set briefs. Through a series of facilitated creative workshops led by industry practitioners and lecturers, participants will be exposed to a broad range of practices, methodologies and working contexts. The project briefs are either self-set or guided and are monitored by a personal development tutor who provides direction and guidance through a series of group seminars and tutorials.

x Reflection: These 20 credit modules aim to expose participants to concepts, ideas and

understandings not communicable through practice alone. This critical stream will provide perspective on core historical, political, social and philosophical approaches alongside contemporary business principles and practices with the aim of stretching and challenging the participant’s perspective on music practice whilst focusing on building their future self.

Workshops The content of the programme is delivered primarily through a series of project based workshops that introduce a broad range of subjects which in turn support the completion of module work. Some examples of the workshops are listed below, but due to the fast pace change and industry demands are always subject to change:

● Studio Recording Principles ● Audio Production

● Sequencing, Synthesis and Sampling ● Composition and Arrangement

● Music and Culture ● Sound Design

● Acoustics ● Music Industry

● Mixing Practice ● Critical Listening and Mastering

● Production for Media ● Ethnomusicology

Portfolio A developed and curated portfolio is seen as one of the most important factors in graduate employment and mobility and is key to the progression of the programme and module structure.


The assessment task for each module is defined as a portfolio, of which the contents are tightly linked to workshop content and are defined in module handbooks by module leaders. A portfolio is generally defined as a collection of works which could include one or more of the specified modes of assessment listed in this programme specification. The portfolio work is tightly linked with the workshop content with both growing in scope and expectation as students’ progress through the programme. 4. Programme Aims By the end of this programme students should be able to:

● Produce complete works (e.g. tracks, songs, productions, sound to image etc..) to industry standards, demonstrating competence and individual creativity at each stage of the production process (e.g. recording, production, mixing and mastering). (Maker)

● Apply knowledge and understanding of technical tools, equipment, spaces, workflows and roles to new and undefined working environments and in relation to a specified creative vision. (Engineer)

● Demonstrate a broad but refined set of artistic and/or working practices through a varied portfolio of works that explore a diverse range of contexts. (Explorer)

● utilise a range of communication and negotiation tools, methods and techniques (Communicator)

● Develop and demonstrate increasing independence and maturity in relation to learning opportunities including engaged research, self evaluation and reflective development. (Researcher)

● Engage in a critical and evaluative approach with regards to artistic, social, political, philosophical and historical theories within the discipline and upon or within their own practice. (Academic)

● Work independently or collaboratively to industry standards as appropriate to the needs of a creative project. (Collaborator/Professional)

5. Programme Learning Outcomes Knowledge & understanding: By the end of this programme students should be able to demonstrate:

1. An understanding of the audio production and engineering industry and market with specific reference to self-production, autonomy, entrepreneurship, marketing and enterprise;

2. A critical knowledge of the broader field of creative sound and music practice and its relationship within society and culture;

3. An understanding of the impact of specific technologies on the music composition, production and sound engineering process;

4. An understanding of the complex relationship between a range of subject-related texts and audiences;

5. Thorough planning, development and problem solving in both academic, and practice-led projects;


Intellectual skills: By the end of this programme students should be able to demonstrate:

6. The ability to apply subject knowledge in a range of contexts, including skills of formal textual analysis, media literacy and audience research;

7. The ability to retrieve and generate information, and critically evaluate sources, in carrying out independent research;

8. Various forms of research for essays, tasks, practical projects or creative productions involving sustained independent enquiry and criticality;

9. The ability to consider and evaluate their own work in a reflexive manner, with reference to academic and/or professional issues, debates and conventions;

10. The ability to initiate, develop and realise distinctive and creative material in a style that is appropriate to specific formats, styles and contexts.

Practical skills: By the end of this programme students should be able to demonstrate:

11. Effective working practices within a professional studio situation demonstrating respect, consideration and collaboration;

12. A range of creative composition, arrangement, production and engineering skills within the context of complete pieces of work.

13. A consideration of personal aesthetics balanced with the requirements of an external client/collaborator;

14. An understanding of the key technical requirements and processes used for a specified creative practice and accepted across the wider industry;

15. Proficient use of a variety of equipment and spaces appropriately, safely and to a professional standard;

Transferable / Key skills: By the end of this programme students should be able to demonstrate:

16. Critical evaluation and reflection on their own creative practice, intellectual

development and employability skills; 17. The ability to work in flexible, creative and independent ways showing self-

discipline, self-direction and reflexivity; 18. Interpersonal skills of effective listening, negotiating, persuasion and

presentation. 19. The ability to generate ideas, concepts and proposals independently and/or

collaboratively in response to set briefs and/or self-initiated projects; 20. Self-awareness, organisation and planning with regard to employability and

career goals. 6. Learning and Teaching Methods This programme offers a diverse range of learning and teaching methods enabling inclusive and flexible student-centred learning.

Demonstration The demonstration of tools, technology, software, hardware or applied technique


Discussion A focus group working together to discuss opinions and gauge their responses to specific stimuli.

Independent Learning Activities where an individual learner conducts research, or carries out a learning activity, on their own or within small groups

Lectures A subject introduced and delivered by the teacher in a specific time which transmits information.

Projects

Project based learning whereby students work towards solving a question or challenge set by the teacher or supervisor.

Sessions Work based learning that emulates a real world scenario.

Seminars A focused group discussion format that often follows a lecture, task or the introduction of complex concepts or ideas.

Tutorials One-to-one teaching based on the learner’s work. Can also be used for pastoral care.

Workshop Project based workshops that are mostly focused around the creation of material through the use of computer based software and hardware either in a studio or a classroom.

6.1 Learning Enhancement

Guest Sessions School wide sessions that invite a guest artist, industry

practitioner or lecturer to discuss their work or a particular subject.

Panel Discussions dBs Dialogues. A panel of participants discuss a specific topic, facilitated by an industry professional.

Volunteering Participants are given the opportunity to volunteer at a number of Berlin based festivals and events in collaboration with partner institutions.

Field Trips Off site visits to relevant companies, spaces or institutions.

Bookable Time Participants are provided with bookable time in high end studio environments with professionally specified equipment.

Supported Time Technician supported use of the facilities and classrooms after hours.


6.2 e-Learning

Moodle The dBs Virtual Learning environment (VLE) is used as the central portal for all programme and school information. The most important features allow participants to access learning resources and materials, and to submit assignments for grading. The many other features of this system include:

● Assignment Briefs ● Grading Systems ● Feedback/Grade Deployment ● Progress Tracking ● Attendance Monitoring ● Moderation / IV process ● Events Calendar

Google Apps All participants are provided with an educational account to

google apps. This includes unlimited storage on Google Drive and Gmail.

Portfolio Publisher All participants are expected to collect and publish their work on an online platform.

7. Modes of Assessment Portfolio Modules are usually assessed holistically as a portfolio that includes one or more of the following assessment modes:

Briefs One or more submissions completed in response to either a given brief, or to a self-set/negotiated brief.

Case Study An in-depth investigation into an organisation, business, community or other unit of analysis.

Diary An account of events over time used as a way to both reflect on and monitor progress throughout a project.

Discussion A documented discussion between two peers where the focus of assessment is both content and the appropriate use of technically specific professional language suitable for the topic.

Dissertation A substantial piece of individual written work undertaken in the final level of study.

Documentation

Details of all processes undertaken to achieve a production or project. This could include time-management planning, design diagrams, reports, scores, production schedules, technical specs, budget plans, storyboards etc.


Essay Critical written response to a question on an aspect of the chosen syllabus.

Files

Software/programme files or code based patches, designs or examples that demonstrate problem solving, process, workflow or technique.

Journal A report on a student experience which consists of a critical reflection on the context, environment, process and outcomes of the experience.

Observations A live assessment where students demonstrate their ability to operate a certain type of equipment or software, by running through logical sequential steps in order to achieve a certain result.

Online Assessment Undertaking of a set of questions using a computer, which may be time-constrained and may employ adaptive technologies.

Online Presentation Work presented via a browser and which may take the form of a journal, a blog or a static or dynamic website and which may include streaming media or links to live content.

Peer Evaluation A process whereby the peers of a student delivering, for example, a presentation can contribute to the process of review, evaluation and assessment of the student's work.

Plans A piece of supporting evidence to indicate a methodical and systematic approach to planning. This could relate to an event/ performance or the undertaking of a piece of practical work.

Presentation Recorded presentation or discursive interview on either a specific theoretical topic or practical work. Can be undertaken by individuals or small groups.

Projects A piece of creative/practical work which might include music/sound production, performance, sound design, video soundtrack, multimedia, or event realisation which is undertaken individually or in a small group.

Reports A report focusing on the creative and/or technical processes encountered while undertaking a practical piece of work. Will include references to specialist technical vocabulary and processes.

Research A detailed individual piece of research that is contextually grounded.

Research Proposal

A proposal for a large scale project that details an overview, context, method and resources etc..

Self-Evaluation A self-reflective evaluation of a student’s own strengths and weaknesses in relation to a stated goal, project or proposal.


Sketches

One or more submissions that demonstrate process, exploration, experimentation, technical understanding, work-in-progress or innovative practice.

Tracks

A completed audio track that demonstrates consideration of a number of defined criteria.

Workbook An individual journal or sketchbook containing both text and visual information detailing the research and development that underpins the student’s project.

8. Exemptions to University Regulations N/A 9. Work-Based Learning / Placement Learning Work based learning is embedded throughout the programme with real world briefs set by our industry practitioners/tutors forming the majority of the assessed practical work. Technical workshops take place in a number of former commercial recording facilities where professional code of conduct is required. The PUSH04 module focuses specifically on providing professional services for clients, providing a real world brief whilst still within the institution.

Whilst there is no formal placement as part of the programme, participants are provided with a multitude of volunteering and work based extracurricular opportunities through our student opportunities initiative and through our various commercial partnerships. E.g. Ableton, Loop, CTM Festival, CDR, A L’ARME!, Native Instruments, HEDD, Eve Speakers, 4D Sound etc..

Our Dialogues programme provides a rotating selection of learners with the opportunity to participate in a panel discussion that is professionally facilitated by industry specialists on a given topic. 10. Programme Structure

Marjon Module Code1

dBs module

code

Module Title

Credits Assessment

Sem

C/O* N

on

-con

dona

ble

% Course work

% Exam % Practical

Leve

l 4

CREC01 SYNC01 Create 20 100% A C CREC02 SYNC02 Craft 20 100% A C CREC03 SYNC03 Explore 20 100% A C CREC04 SYNC04 Shape 40 100% B C √ CREC05 SYNC05 Locate 20 100% B C

Leve

l 5 CRED01 CMPD01 Produce 40 100% A C √

CRED03 BIND01 Define 20 100% A C CRED02 CMPD02 Land 40 100% B C √


CRED04 BIND02 Venture 20 100% B C

Leve

l 6

CREH01 PUSH01 Frame 20 100% A C CREH02 PUSH02 Invent 40 100% X C √ CREH03 PUSH03 Launch 20 100% B C FMPH01 PUSH04 Process 40 100% X O √ FMPH02 PUSH05 Dissertate 40 100% X O √

Key:

^ For modules delivered by semester: ● A, B or C = Semester A, B or C (trimester) ● X = modules offered across semester A or B

* C = compulsory; O = optional

11. Accrediting Professional Body / Professional Regulatory and Statutory Body (PSRB) N/A 12. Professional Advisory Group Consultation has been provided by Andre Ktori (Associate Professor and Head of School) at Massey Institute, Wellington and Paul Greene of UCLAN (Academic Group Lead). The consultation sessions were highly supportive of the overall structural concept and reinforced a number of the development processes and decisions. 13. Academic Progression Opportunities Although the nature of this study area is very much industry and practice based, key academic progression opportunities have been considered throughout the development of this programme. The narrative of the programme as a whole has been designed with postgraduate study in mind, whether in the specified subject area or within the broader music field. Upon completion of the programme, participants should feel equipped with enough transferable knowledge and skills to apply for a number of different specialist programmes within the music domain. Participants looking to develop their academic rigour should opt for the PUSH05 Dissertation module. 14. Employability and Career Progression Opportunities Although a range of career paths still exist within the domain, we have seen an industry shift towards a multitude of freelance positions over the last 15 years. The modern producer or sound engineer must be equipped with a range of skills both technical and creative, and must also have a range of interpersonal skills. The programme aims to produce well rounded individuals that are competent in a range of existing roles, but also have the grit and determination to create new positions and markets for themselves and for others. Some noted career opportunities are listed below:

● Music Artist - Touring, Recording ● Media Artist - Audio visual, Sound installation, Interactive installation ● Media Creator - Music software design, Plug in design, ● Studio Engineer - Tracking, Mixing, Mastering, Management ● Live Engineer - FOH/Monitor ● Development - Songwriting, Composing/arranging, Artist development ● Acoustics - Studio Construction, Analysis


● Content Creation - Sample packs, Sound branding, Adverts, Jingles ● Music Education

15. Support for Students and for Student Learning Students have full access to facilities for academic and pastoral support and guidance. Student support and guidance is promoted via the following platforms:

● Onsite student support and services team ● Onsite English language support ● Extensive library and online learning resources ● Library and study skills guidance material ● Programme handbooks and module handbooks ● Tutorial staff, including programme leaders, project supervisors / module leaders and

tutors. 16. Student Feedback Mechanisms Students are provided with a multitude of both formal and informal feedback mechanisms.

Student Support and Staff and Student Liaison Committee (SSLC)

A committee meeting facilitated by student support where student representatives, programme leads and programme teams discuss and resolve any tensions.

Formative Feedback Informal feedback given throughout the semester by a tutor in a workshop or tutorial settings.

Summative Feedback Formal written feedback by a module tutor at a module completion point.

Module Evaluation Students have the opportunity to provide formal detailed module feedback at both a mid-semester and end of semesters points.

17. Other Stakeholder Feedback This programme has been designed by an education development team that has integrated staff and student feedback through a number of formal and informal mechanisms. 18. Quality and Enhancement Mechanisms The quality of the student experience and the standards of the awards are managed and quality assured through the normal University regulations and procedures. Student achievement and progression is managed through the Module Assessment Boards (MABs) and the Progression and Award Boards (PABs). Programmes are reviewed annually through annual monitoring processes, including external examiner contributions, and incorporate student feedback mechanisms.


19. Learning Outcomes Mapping Matrix

Knowledge and Understanding

Intellectual Skills Practical Skills Transferable/Key Skills

Module Codes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 CREC01 SYNC01 X X X X X CREC02 SYNC02 X X X X X X X CREC03 SYNC03 X X X X X X X X X CREC04 SYNC04 X X X X X X CREC05 SYNC05 X X X X X X X CRED01 CMPD01 X X X X X X X X X X X X X X CRED03 BIND01 X X X X X X X CRED02 CMPD02 X X X X X X X X X X X X X X X X CRED04 BIND02 X X X X X X X X X X X X CREH01 PUSH01 X X X X X X X X X X X X X X X X X CREH02 PUSH02 X X X X X X X X X X X X X X X X CREH03 PUSH03 X X X X X X X X X X X X X FMPH01 PUSH04 X X X X X X X X X X X X X FMPH02 PUSH05 X X X X X X X X X X X

20. Programme Level Descriptors


CREDIT LEVEL 4 (Certificate)

Students awarded a qualification at this level will have demonstrated:

Knowledge and understanding

- factual and/or conceptual knowledge and understanding of key concepts and principles associated with their area(s) of study using appropriate terminology;

- an awareness of ethical issues in current areas of study with an ability to discuss these in relation to personal beliefs and values.

Intellectual skills

- the ability to analyse using given classifications/ principles; - the ability to synthesise ideas and information in a predictable and standard

format; - the ability to evaluate the reliability of data using defined techniques and/or

tutor guidance; - the ability to apply tools/methods accurately and carefully to a well-defined

problem and begin to appreciate the complexity of issues. Practical skills

- the ability to operate in predictable, defined contexts using a range of specified (subject specific) techniques;

- the ability to act with limited autonomy, under direction or supervision, within defined guidelines.

Transferable / key skills

- the ability to work effectively with others as a member of a group and meet obligations to others (e.g. tutors, peers and colleagues);

- the ability to work within an appropriate ethos, using and accessing a range of learning resources;

- the ability to evaluate their own strengths and weaknesses within criteria largely set by others;

- responsibility for their own learning with appropriate support; - the ability to communicate effectively in a variety of formats appropriate to the

discipline(s) and report practical procedures in a clear and concise manner; - the ability to apply tools/methods accurately and carefully to a well-defined

problem and begin to appreciate the complexity of the issues of the discipline.


CREDIT LEVEL 5 (Diploma)



- detailed knowledge of major theories of the discipline(s) and awareness of a variety of ideas, contexts and frameworks;

- an awareness of wider social and environmental implications of area(s) of study;

- an ability to debate issues in relation to more general ethical perspectives.

Intellectual skills

- the ability to analyse a range of information with minimum guidance using given classifications/principles and can compare alternative methods and techniques for obtaining data/information;

- the ability to reformat a range of ideas and information towards a given purpose;

- the ability to select appropriate techniques of evaluation and evaluate the relevant and significance of the data/ information collected;

- the ability to identify key elements of problems and choose appropriate methods for their resolution in a considered manner.

Practical skills

- the ability to operate in situations of varying complexity and predictability requiring the application of a wide range of techniques;

- the ability to act with increasing autonomy, with minimal direction or supervision, within defined guidelines.


- the ability to interact effectively within a team, giving and receiving information and ideas and modifying responses where appropriate;

- the ability to manage learning using resources relevant to the discipline; - a professional working relationships with others; - the ability to evaluate their own strengths and weaknesses, challenge received

opinion and develop own criteria and judgement; - the ability to manage information; select appropriate data from a range of

sources and develop appropriate research strategies; - the ability to take responsibility for own learning, with minimum direction; - the ability to communicate effectively and in a variety of formats appropriate

to the discipline(s), in a clear and concise manner; - the ability to identify key areas of problems and select appropriate

tools/methods accurately for their resolution in a considered manner.


CREDIT LEVEL 6 (Honours)



- comprehensive/detailed knowledge of a major discipline(s), with areas of specialisation in depth;

- an awareness of the provisional nature of knowledge; - an awareness of personal responsibility and professional codes of conduct and

can incorporate a critical ethical dimension into a major piece of work.

Intellectual skills

- the ability to analyse new and/or abstract data and situations without guidance, using a range of techniques appropriate to the subject;

- the ability to transform abstract data and concepts towards a given purpose and design novel solutions, with minimum supervision;

- the ability to critically evaluate evidence to support conclusions/recommendations, reviewing its reliability, validity and significance;

- the ability to investigate contradictory information/identify reasons for contradictions;

- confidence and flexibility in identifying and defining complex problems and can apply appropriate knowledge and skills to their solution.

Practical skills

- the ability to operate in complex and unpredictable contexts, requiring selection and application from a wide range of innovative or standard techniques;

- the ability to act autonomously, with minimal direction or supervision, within agreed guidelines.


- the ability to interact effectively within a team, recognising, supporting and being proactive in leadership, negotiating in a professional context and managing conflict;

- the ability to manage own learning using full range of resources relevant to the discipline;

- the ability to work professionally within the discipline; - confidence in the application of own criteria of judgement and the ability to

challenge received opinion and reflect on action; - the ability to seek and make use of feedback; - the ability to select and manage information, competently undertaking

reasonably straight-forward research tasks with minimum guidance; - the ability to take responsibility for own work and be self-critical; - the ability to engage effectively in debate in a professional manner and

produce detailed and coherent project reports; - confidence and flexibility in identifying and defining complex problems and

applying appropriate knowledge, tools/methods for their solution.

1 | Page CREC01 v1

Module Code CREC01 (dBs code: SYNC01) Version 1 Module Title Create Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 4 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering

BA (Hons) Electronic Music Production and Performance BA (Hons) Film Production BA (Hons) Screen Acting

Not available to students taking/having taken

N/A

Content (Indicative) The syllabus will typically include;

● A series of creative workshops and demonstrations ● Creative idea generation and realisation tools ● Collaboration/feedback tools and techniques ● Portfolio production and curation methods

Teaching and Learning Experience Workshops, Demonstration, Group Discussion, Practical Sessions, Seminars, Tutorials Module Learning Outcomes On successful completion of this module students will be able to:

1. Produce imaginative pieces of work within a chosen/negotiated domain 2. Explore and present a range of creative ideas within a chosen/negotiated field 3. Carry out independent and/or collaborative project work

Assessment

Assessment task Load (eg wordage) Weighting Learning outcomes assessed

Portfolio Contents defined in the module handbook

up to 5,000 words or equivalent

100% 1, 2, 3

MODULE DESCRIPTOR Definitive Document

2 | Page CREC01 v1

Indicative reading Books Barez-Brown, C. (2006) How to Have Kick-Ass Ideas: Get Curious, Get Adventurous, Get Creative (What If). 20060103rd edn. United Kingdom: Harper Element. Coyle, Daniel, (2009) The Talent Code, Arrow Books, London, ISBN: 978-0-099-51985-0 Godin, Seth. (2015) Poke the box. 1591848253. Portfolio. Young, James Webb (2009) A technique for producing ideas. 1434102750. Waking Lion Press. Robinson, K, (2011) Out of Our Minds: Learning to be Creative, Capstone, ASIN: B005CKKETU De Bono, Edward (2016) Lateral Thinking: A Textbook of Creativity. 0241257549. Penguin Life. (Subject reading, journals and web resources can be found in the module handbook)

1 | Page CREC02 v1

Module Code CREC02 (dBs code: SYNC02) Version 1 Module Title Craft Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 4 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken N/A Content (Indicative) The syllabus will typically include;

● A series of technical workshops and demonstrations ● The process of capturing material ● An introduction to foundational technique ● A broad range of practical concepts and approaches


1. Explore and experiment with a range of practical tools, methods and techniques 2. Display technical competency within an area of a specified creative practice 3. Demonstrate creative, aesthetic and contextual considerations within specified creative practice

Assessment

Assessment task Load (e.g. wordage)

Weighting Learning outcomes assessed



100% 1, 2, 3


2 | Page CREC02 v1

Indicative reading Books Barez-Brown, C. (2006) How to Have Kick-Ass Ideas: Get Curious, Get Adventurous, Get Creative (What If). 20060103rd edn. United Kingdom: Harper Element. Coyle, Daniel, (2009) The Talent Code, Arrow Books, London, ISBN: 978-0-099-51985-0 Godin, Seth. (2015) Poke the box. 1591848253. Portfolio. Young, James Webb (2009) A technique for producing ideas. 1434102750. Waking Lion Press. Robinson, K, (2011) Out of Our Minds: Learning to be Creative, Capstone, ASIN: B005CKKETU De Bono, Edward (2016) Lateral Thinking: A Textbook of Creativity. 0241257549. Penguin Life. (Subject reading, journals and web resources can be found in the module handbook)

1 | Page CREC03 v1

Module Code CREC03 (dBs code: SYNC03) Version 1 Module Title Explore Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 4 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering



● An introduction to key concepts and principles ● A range of communication tools and techniques ● The use of key terminology ● An introduction to research methods ● A set of analysis and reflection tools ● Group discussion and debate

Teaching and Learning Experience Lectures, Seminars, Tutorials, Group Discussion, Workshops. Module Learning Outcomes On successful completion of this module students will be able to:

1. Conduct research into the work of others and present it coherently 2. Demonstrate competent use of communication tools and techniques 3. Demonstrate an ability to undertake and manage the process of collaboration

Assessment


Weighting (as a percentage)

Learning outcomes assessed



100% 1, 2, 3


2 | Page CREC03 v1

Indicative reading Books Pink, Daniel H. (2009) Drive : the surprising truth about what motivates us. 9781594488849. New York : Riverhead Books Wiseman, Richard. (2009) 59 seconds : think a little, change a lot. 9780307273406. New York : Alfred A. Knopf Northedge, Andrew (2005) The Good Study Guide 0749259744. Open University Worldwide Bechtle, Mike (2013) How to communicate with confidence. 0800788346. Revell; Reprint edition. (Subject reading, journals and web resources can be found in the module handbook)

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=Provider:Riverhead%20Books,

1 | Page CREC04 v1

Module Code CREC04 (dBs code: SYNC04) Version 1 Module Title Shape Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 4 Study Period B Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering



● A series of practice based hands on workshops ● A development of foundational technique ● A focused set of practical concepts and approaches ● Workflow considerations ● An overview of appropriate dissemination platforms, tools and methods ● The preparation of materials for dissemination ● Portfolio production and curation methods


1. Express inventive ideas through finalised pieces of work within a chosen/given domain. 2. Demonstrate the development of an individual creative voice. 3. Display technical proficiency within specified creative practice. 4. Implement creative, aesthetic and contextual considerations within creative practice. 5. Finalise and display pieces of work taking market/industry expectations into consideration.

Assessment Assessment task Load (e.g. wordage) Weighting (as

a percentage) Learning outcomes assessed



100% 1, 2, 3, 4, 5


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Indicative reading Books Baumgarner, Jeffrey (2015) Anti Conventional Thinking: The creative alternative to Brainstorming. 9491156047. JPB De Bono, Edward (2016) Lateral Thinking: A Textbook of Creativity. 0241257549. Penguin Life. Huck / Various. (2015) Paddle against the flow : lessons on life from doers, creators, and cultural rebels. 9781452138060. San Francisco: Chronicle Books Judkins, Rod (2016) The Art of Creative Thinking: 89 ways to see things differently. 0399176837. TarcherPerigee Young, James Webb (2009) A technique for producing ideas. 1434102750. Waking Lion Press. (Subject reading, journals and web resources can be found in the module handbook)

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Module Code CREC05 (dBs code: SYNC05) Version 1 Module Title Locate Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 4 Study Period B Prerequisites and corequisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering



N/A


● Discussion and debate surrounding social, cultural, ethical, political or philosophical issues ● The use of communication tools and techniques ● A range of research methodology in practice ● A set of analysis and reflection tools ● Introduction to the use of key terminology ● Group discussion and debate


1. Form a structured argument using appropriate terminology within an academic context (Communicator)

2. Synthesise and reflect on a range of ideas and perspectives within a given field (Researcher) 3. Evaluate work within a broad social, cultural or ethical framework (Academic)

Assessment

Assessment task Load (eg wordage) Weighting (as a percentage)




100% 1, 2, 3


2 | Page CREC05 v1

Indicative reading Books Smith, Hazel (2009) Practice Led Research, Research Led Practice in the creative arts. 0748636293. Edinburgh, Edinburgh University Press. Licht, Aliza (2015) Leave your mark. 1455584142. Grand Central Publishing. Dawson, Catherine (2009) Introduction to Research Methods. 1845283678. Constable & Robinson Forsyth, Patrick (2013) How to write reports and proposals. 0749467142. Kogan Page Huff, Corey (2016) How to sell your art online. 006241495X. Harper Design Pricken, Mario (2010) Creative Strategies: Idea Management for Marketing, Advertising, Media and Design. 0500515409. Thames & Hudson Ltd. (Subject reading, journals and web resources can be found in the module handbook)

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Module Code CRED01 (dBs code: CMPD01) Version 1 Module Title Produce Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 5 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering Not available to students taking/having taken N/A Content (Indicative) The syllabus will typically include;

● Identification of issues surrounding the concepts of leadership and facilitation within studio sessions.

● Theoretical and practical issues surrounding professional workflow standards in the context of a large scale music production.

● Intermediate mixing techniques with a focus on methodology, dynamic processing, equalization, dimension, automation and creative vision.

● Auditory investigations and discussion of key components of multi-track audio recordings. ● Methodologies of choosing appropriate composition techniques for different tasks incorporating

social, ethical or creative requirements. ● Aural analysis of musical composition and stylistic features with respect to composition

methodologies. ● Theoretical and conceptual information relating to systems for composing and arranging music.

Teaching and Learning Experience Demonstration, Workshops, Group Discussion, Independent Learning, Projects, Tutorials Module Learning Outcomes On successful completion of this module students will be able to:

1. Develop a creative production vision, setting out pre-production plans and feasible goals in line with limitations, project resources and expected outcomes.

2. Explore and apply a range of complex production techniques and working methodologies. 3. Integrate key composition and arrangement techniques and theories into completed pieces of

work. 4. Demonstrate the appropriate use of practical and theoretical mixing tools. 5. Demonstrate the ability to establish and conduct professional relationships with others


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Assessment

Assessment task Load (eg wordage)





100% 1, 2, 3, 4, 5

Indicative reading Books Bufe, C, (1994), An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians..., See Sharp Press, ASIN: B0058DW4CG Cacavas, J, (1993), The Art of Writing Music, Alfred Pub Co, ASIN: B004HIN2SI Izhaki, R. (2011) Mixing Audio: Concepts, Practices and Tools. 2nd ed. Focal Press Mixerman (2012), Zen and the Art Of Producing. Hal Leonard Murphy, M.J.(2011), Choosing Notes: Creativity, Ear Training, Harmony & Music Theory, Twilight Storm Media, ASIN: B005N70HPI Senior, M (2011) Mixing Secrets for the Small Studio. Focal Press Journals: Organised Sound: Cambridge University Press, http://journals.cambridge.org/action/displayJournal?jid=OSO Resolution: http://www.resolutionmag.com/ Computer Music Journal – MIT Press: http://www.mitpressjournals.org/loi/com Journal of Sonic Studies: Leiden University, http://sonicstudies.org/cfp Journal on the Art of Record Production: http://arpjournal.com/about/

Websites:

http://www.soundonsound.com/forum http://www.gearslutz.com/board/ http://cambridge-mt.com/ http://www.redbullmusicacademy.com/lectures http://www.pensadosplace.tv/ http://www.musictheory.net/tools http://composersforum.ning.com/ http://createdigitalmusic.com/ http://www.mixingaudio.com/

http://www.resolutionmag.com/

http://www.mitpressjournals.org/loi/com

http://arpjournal.com/about/

http://www.soundonsound.com/forum

http://www.gearslutz.com/board/

http://cambridge-mt.com/

http://www.redbullmusicacademy.com/lectures

http://www.pensadosplace.tv/

http://www.musictheory.net/tools

http://composersforum.ning.com/

http://createdigitalmusic.com/

http://www.mixingaudio.com/

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Module Code CRED03 (dBs code: BIND01) Version 1 Module Title Define Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 5 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering



N/A


● An introduction to a variety of research methods ● A broadening range of communication tools and techniques ● Data collection tools and techniques ● An investigation of source validity ● Broad academic study skills ● Refined concepts and principles ● The use of key terminology in context ● A set of analysis and reflection tools ● Structured group process, discussion and debate


1. Identify a critical theoretical issue and form a structured argument addressing it through synthesis, reflection and analysis.

2. Utilise appropriate research techniques in support of an argument. 3. Take responsibility for learning and self-development with limited guidance or direction.


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Assessment






100% 1, 2, 3

Indicative reading Books Bruni, Luigino. (2007) Economics and happiness: framing the analysis. 0199215235. New York : Oxford University Press Collins, Hilary (2010) Creative Research: The Theory and Practice of Research for the Creative Industries. 2940411085. Bloomsbury Publishing Plc Cottrell, Sarah (2017) The study skills handbook. 1137289252. Palgrave Denscombe, Martyn. (2006) The good research guide : for small-scale social research projects. 0335213030. England ; New York : Open University Press Godin, Seth. (2007) The dip : a little book that teaches you when to quit (and when to stick). 9781591841661. New York : Portfolio. Smith, Hazel (2009) Practice Led Research, Research Led Practice in the creative arts. 0748636293. Edinburgh, Edinburgh University Press. (Subject reading, journals and web resources can be found in the module handbook)

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=au:%22Denscombe,%20Martyn.%22

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=au:%22Godin,%20Seth.%22

1 | Page CRED02 v1

Module Code CRED02 (dBs code: CMPD02) Version 1 Module Title Land Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 5 Study Period B Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering Not available to students taking/having taken N/A Content (Indicative) The syllabus will typically include;

● Complex theory, concepts and information relating to current professional discussion and practice.

● Theoretical concepts and practical techniques surrounding the mastering process. ● Practical and theoretical investigations of frequency, dynamics and other components of stereo

audio productions. ● Evaluation of the subjective and objective nature of measuring and describing sound. ● Theory, conceptual background and practical application of the interaction between sound and

the visual image ● Analysis and application of sound and/or composition for visual media, TV, film, animation, web

media, games, interactive or other areas. ● Project and portfolio finalisation and evaluation techniques.

Teaching and Learning Experience Demonstration, Workshops, Group Discussion, Independent Learning, Projects, Tutorials Module Learning Outcomes On successful completion of this module students will be able to:

1. Create a self-initiated brief, demonstrating artistic vision, creative risk and a growing sense of autonomy within a defined set of guidelines.

2. Produce original work that explores the complex relationship between sound and/or music and visual media.

3. Accurately select and apply key practical and theoretical mastering techniques and methodologies.

4. Successfully integrate and respond to external client based feedback. 5. Create and utilise a defined set of criteria for the critical analysis of a personal portfolio.


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Assessment






100% LO1, LO2, LO3, LO4, LO5

Indicative reading Books Ament, Vanessa Theme, (2014), Foley Grail - The Art of Performing Sound for Film, Games and Animation, Focal Press, ISBN: 0415840856 Chion, Michel, (1994), Audio-Vision - Sound on screen, Columbia University Press, ISBN: 0231078994 Corey, J, (2012), Audio Production and Critical Listening: Technical Ear Training, Focal Press, ASIN: B00AYIKKO4 Katz, B, (2007), Mastering Audio, the art and the science, second edition. ISBN 978-0-240-80837-6 Roads, Curtis, (1996), The Computer Music Tutorial, MIT Press, ISBN: 0262680823 Viers, Ric, (2008), Sound Effects Bible - How to Create and Record Hollywood Style Effects, Michael Wiese Productions , ISBN: 1932907483 Journals: Popular Music: Cambridge University Press Journal on the Art of Record Production Film Music Magazine

Websites:

http://www.gearslutz.com/board/ www.http://filmsound.org/ http://www.indietalk.com/ http://www.pensadosplace.tv/ http://www.musictheory.net/tools http://composersforum.ning.com/ http://createdigitalmusic.com/ http://www.mixingaudio.com/

http://www.gearslutz.com/board/

http://www.indietalk.com/

http://www.pensadosplace.tv/

http://www.musictheory.net/tools

http://composersforum.ning.com/

http://createdigitalmusic.com/

http://www.mixingaudio.com/

1 | Page CRED02 v1

Module Code CRED04 (dBs code: BIND02) Version 1 Module Title Venture Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 5 Study Period B Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering



N/A


● An introduction to a range of self-reflection tools and practices ● The development of professional communication skills and techniques ● Methodologies and strategies for setting and achieving goals ● Investigation into broad social, cultural and ethical issues ● Discussion and debate surrounding innovation and its relationship with audience ● Idea generation strategies ● Creative risk taking strategies ● An introduction to new and innovative business models ● An exploration of new and niche markets ● The investigation of leading practitioners, communities and companies ● An introduction to new distribution models ● Employment market analysis


1. Identify and examine a number of niche creative communities or product markets in relation to developing professional practice.

2. Demonstrate complex creative development and self-management strategies in relation to own professional practice.

3. Evidence sophisticated use of written, verbal, visual, aural and/or digital communication and negotiation best practice.


2 | Page CRED02 v1

4. Critically analyse and reflect on the project outcomes in relation to the current social, ethical or political context.

Assessment






100% 1, 2, 3, 4

Indicative reading Books Fisher, Roger and William Ury, (2011) Getting to Yes: Negotiating an Agreement Without Giving In, Random House London, ISBN: 978-1-847-94093-3 Flowers, Betty Sue, Joseph Jaworski, C. Otto Scharmer, and Peter Senge, Presence. An Exploration of Profound Change in People, Organisations, and Society, Nicolas Brealey Publishing UK, ISBN: 978-1-8578-8355-8 Ilasco, Meg Mateo and Joy Deangdeelert Cho, (2010) Creative, Inc., Chronicle Books U.S.A., ISBN: 978-0-8118-7161-7 Goins, Jeff (2017) Real Artists Don’t Starve: Timeless Strategies for Thriving in the New Creative Age. 0718098927. Thomas Nelson Publishers; International Godin, S. (2009) Purple Cow: Transform Your Business by Being Remarkable. United States: Penguin Group (USA). Belussi, F, (2011), Managing Networks of Creativity, Routledge, ASIN: B007H9GZM4 (Subject reading, journals and web resources can be found in the module handbook)

1 | Page CREH01 v1

Module Code CREH01 (dBs code: PUSH01) Version 1 Module Title Frame Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 6 Study Period A Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken N/A Content (Indicative) The PUSH01 module provides the basis for the research and development process of a large scale practical project to be carried out in PUSH02. The syllabus will typically include;

● The development of a major project idea suitable for extended research and development ● Project planning and documentation frameworks ● Research practices and methodology ● Time management techniques and processes ● Risk management strategies that promote innovation whilst managing waste ● Development that incorporates a sensitivity to social and ethical frameworks


1. Conceive, develop and pitch an achievable major project. 2. Evidence thorough and detailed research, documentation, organisation and planning in relation to

the development of a major project. 3. Critically analyse the wider theoretical debates present in a negotiated field and reflect on

reliability, validity and significance in relation to own practice.


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Assessment






100% 1, 2, 3

Indicative reading Books Boross, P. (2012) The pocket pitching bible. United Kingdom: CGW Publishing. Collins, Hilary (2010) Creative Research: The Theory and Practice of Research for the Creative Industries. 2940411085. Bloomsbury Publishing Plc Denscombe, Martyn. (2006) The good research guide : for small-scale social research projects. 0335213030. England ; New York : Open University Press Fisher, Roger and William Ury, (2011) Getting to Yes: Negotiating an Agreement Without Giving In, Random House London, ISBN: 978-1-847-94093-3 Goins, Jeff (2017) Real Artists Don’t Starve: Timeless Strategies for Thriving in the New Creative Age. 0718098927. Thomas Nelson Publishers; International (Subject reading, journals and web resources can be found in the module handbook)

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=au:%22Denscombe,%20Martyn.%22

1 | Page CREH02 v1

Module Code CREH02 (dBs code: PUSH02) Version 1 Module Title Invent Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 6 Study Period X Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken N/A Content (Indicative) This module represents the production and completion of a major practical work in an area suitable to the programme of study. The syllabus will typically include;

● The creation of a major production project suitable for extended research and development ● Cutting edge tools, techniques and methodologies that support the development of a high level

piece of work ● The introduction of advanced iterative project development tools and methods ● High level workflow considerations ● The creation and completion of a final artefact ready for market


1. Invent, create and finalise a large scale self-initiated practical project suitable for extended study demonstrating specialisation, originality and self-expression)

2. Apply advanced technical processes and methodologies demonstrating innovation and/or an advanced knowledge of industry standards and expectations

3. Demonstrate that contextual aesthetic considerations have informed the work 4. Integrate and manage formal and informal project feedback mechanisms showing self-criticality,

reflection, flexibility and adaptability 5. evaluate complex issues of project and time management maintaining a professional code of

conduct and ethical practice


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Assessment

Assessment task Load (eg wordage) Weighting (as a percentage)




100% 1, 2, 3, 4, 5

Indicative reading Books Duckworth, Angela, (2016) Grit: The Power of Passion and Perseverance, Penguin UK, ISBN: 978-1-7850-4019-1 Senge, Peter M. (2006) The fifth discipline : the art and practice of the learning organization. 0385517254. New York : Doubleday/Currency Baumeister, Roy F. (2001) Willpower : rediscovering the greatest human strength. 9781594203077. New York : Penguin Press Leadbeater, C (2014) The Frugal Innovator: Creating Change on a Shoestring Budget. 113733536X. Palgrave Macmillan (Subject reading, journals and web resources can be found in the module handbook)

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=au:%22Senge,%20Peter%20M.%22

1 | Page CREH03 v1

Module Code CREH03 (dBs code: PUSH03) Version 1 Module Title Launch Credits 20 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board CRE Academic Level (FHEQ) 6 Study Period B Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken N/A Content (Indicative) The PUSH03 module supports the second stage of the PUSH02 module with a focus on the design of a suitable distribution/dissemination strategy for the final artefact. The syllabus will typically include:

● The development of a coherent professional profile and identity ● Engagement with market and audience requirements and expectations ● Portfolio and showreel development and presentation ● The development of a strategy for project dissemination ● Engagement with industry


1. Develop and employ a coherent strategy for the public display and/or distribution/dissemination of a finished artefact.

2. Critically evaluate working processes from project conception to finalisation. Assessment






100% 1, 2


2 | Page CREH03 v1

Indicative reading Books Auslander, Philip. (2008) Liveness : performance in a mediatized culture. 9780415773522. London;New York : Routledge Belussi, F, (2011), Managing Networks of Creativity, Routledge, ASIN: B007H9GZM4 Huff, Corey (2016) How to sell your art online. 006241495X. Harper Design Pricken, Mario (2010) Creative Strategies: Idea Management for Marketing, Advertising, Media and Design. 0500515409. Thames & Hudson Ltd. (Subject reading, journals and web resources can be found in the module handbook)

https://library.dbsmusic.net/cgi-bin/koha/opac-search.pl?q=au:%22Auslander,%20Philip,%22

1 | Page FMPH01 v1

Module Code FMPH01 (dBs code: PUSH04) Version 1 Module Title Process Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board FMP Academic Level (FHEQ) 6 Study Period X Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken FMPH02 (PUSH05) - Dissertate Content (Indicative) This self-directed module will engage participants in the process of working with, or providing a service for, an external client/collaborator with a focus on process based professional documentation and reflection. The syllabus will typically include;

● A research and development phase ● Forming connections with the broader industry ● Negotiating a project and project outcomes in line with a suitable time frame ● Professional feedback and development opportunities ● Networking opportunities ● Professional communication and negotiation frameworks ● Process and communication based reflection ● Support and guidance in one on one tutorials


1. Successfully negotiate and manage highly effective collaborative relationships with external entities/parties demonstrating professional communication skills in line with required social and ethical frameworks.

2. Demonstrate detailed process based documentation practices and leverage for use in self-development and reflection processes.

3. Demonstrate the application of complex problem solving techniques in a range of unpredictable contexts.


2 | Page FMPH01 v1

4. Undertake comprehensive practical processes in response to external client based requirements. 5. Undertake detached evaluation of the project outcomes in relation to initial project aims,

objectives, process and life cycle with an emphasis on required professional standards and expectations.

Assessment

Assessment task Load (e.g. wordage) Weighting (as a percentage)




100% 1, 2, 3, 4, 5

Indicative reading Books Jackson, Paul Z. (2007) The solutions focus : making coaching and change simple. 1904838065. Boston : Nicholas Brealey Lloyd, Carol (1997) Creating a life worth living. 0060952431. New York, NY : Harper Perennial. Godin, Seth (2011) Linchpin. 1591844096. Portfolio Cialdini, Robert B (2006) Influence - The psychology of persuasion. 006124189X. Harper Business Allen, M, (2012) The concise time management and personal development, Thorogood Publishing Ltd, ASIN: B009HBQ9SU Belussi, F, (2011), Managing Networks of Creativity, Routledge, ASIN: B007H9GZM4 Paulus, P, B, (2003) Group Creativity, Oxford Uni Press, ASIN: B001QFZ33M Robinms, M (2012) Tulane Journal of Technology and Intellectual Property, Tulane Law School, ASIN: B00CPT0JEQ Robinson, K, (2011) Out of Our Minds: Learning to be Creative, Capstone, ASIN: B005CKKETU Schmitt, W, J, (2011) Time Management and Individual Work Organization, Trainplan, ASIN: B004ZGDACK (Subject reading, journals and web resources can be found in the module handbook)

1 | Page FMPH02 v1

Module Code FMPH02 (dBs code: PUSH05) Version 1 Module Title Dissertate Credits 40 Valid From 01/09/18 – 31/08/23 Status Validated Subject Board FMP Academic Level (FHEQ) 6 Study Period X Prerequisites and co-requisites N/A Associated programmes BA (Hons) Creative Music Production and Sound Engineering


Not available to students taking/having taken FMPH01 (PUSH04) - Process Content (Indicative) The syllabus will typically include:

● Identification and articulation of a viable theoretical research problem; ● Writing a research proposal identifying suitable investigative elements; ● Writing a literature review and/or conducting primary research; ● Relevant research techniques and topics; ● Construction of appropriate theoretical and/or methodological frameworks; ● Meeting deadlines and negotiating progress with a tutor; ● Organisation and presentation of a draft chapter


1. Identify and articulate a viable scholarly focus through a detailed research proposal; 2. Demonstrate an ability to devise and implement appropriate methodological and ethical

frameworks for analysis and evaluation; 3. Sustain clear and persuasive arguments through the application of theory to examples or

evidence; 4. Demonstrate advanced critical understanding and an ability to express themselves at an

appropriate level and in an academic style.


2 | Page FMPH02 v1

Assessment

Assessment task Load (e.g. wordage) Weighting (as a percentage)




100% 1, 2, 3, 4

Indicative reading Books Arnold Mann, S. (2011) Study Skills for Art, Design & Media Students. Longman / Pearson Booth, Andrew (2016) Systematic Approaches to a Successful Literature Review. 1473912466. Sage Publications Ltd Clark, T., Osterwalder, A. and Pigneur, Y. (2012) Business Model You: A One-Page Method For Reinventing Your Career. 1st edn. United States: Wiley, John; Sons, Incorporated. Hansen, A. Machin, D. (2013) Media and Communication Research Methods. Basingstoke, Palgrave. Jesson, Jill et al (2011) Doing Your Literature Review: traditional and systematic techniques London: Sage Kahneman, D. (2011) Thinking, fast and slow. United States: Farrar, Straus & Giroux Inc. Mitchell, C (2011) Doing Visual Research. London: Sage Machin, D (2002) Ethnographic Research for Media Studies. 0340806885. Hodder Arnold Smith, H (2009) Practice-Led Research, Research-Led Practice in the Creative Arts. Edinburgh: Edinburgh University Press (Additional subject reading, journals and web resources can be found in the module handbook)

Documents

Section 1: BASIC INFORMATION 1.1 1.2 1.3 1.4 1 · 1 | Page BA (Hons) Creative Music Production and Sound Engineering (v1) Section 1: BASIC INFORMATION 1.1 Awarding Institution: Plymouth