UNIT TITLE Music Media & Industry Unit Code EMJN5007 Location Epsom Level 5 Duration (number of weeks) 24 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 22 April 2015

CONTENT Until now you have largely been learning how to report the facts faithfully and to remain objective. Now, in Music Media & Industry, you will really begin to find your own ‘voice’ and start expressing yourself and your passion for music. You will find out about other writers and how you fit into a long, robust tradition of music journalism. At their best, music writers create the myths that surround the artist. Whether the writer just reports or takes a more iconoclastic tone, he or she is giving an informed, specialist and entertaining interpretation of music releases. After reflecting on key writers from different eras you will develop your own style. The unit will focus on how you can express yourself in a critically constructive way. In order for people to listen to what you have to say, you have inform yourself about writers, topical trends and issues, and demonstrate that knowledge. You will practice writing track, album and live reviews, which are the essentials of music journalism. But they are not as easy as you might expect. How do you give a friendly band’s new album a meagre two stars when they have invited you to their gig and the PR has plied you with drinks and food? What do you say when the media climate is ‘pro’ a certain artist and you think it is all hype? These are just some of the issues you will be grappling with. You will learn to review for different readerships, as well as hone your research skills and writing style to produce challenging, informative copy. As well as sharpening your critical judgment, this unit will further develop your knowledge of music as you research past and present bands, solo artists, scenes and subcultures. You will gain more invaluable practice using industry-standard software such as InDesign, Photoshop and Adobe Audition. You will also be expected to put your writing and editing skills into practice with The Wave course blog, and develop your musical aesthetic and radio journalism with the regular podcast. You will be encouraged to enter your work into the Guardian Student Media Awards. Outline syllabus • Crafting an angle in order to express personal opinion • Exploring your own creative style and ‘voice’ in your writing • Improving your knowledge of current and historic writers, genres and trends • Developing informed critique in your album, track and live reviews, blog writing and radio

material • Tailoring your writing and audio material for specific markets

AIMS The aims of this unit are to: A1 Encourage your innovative use of the written and audio material to convey information and

critical evaluations about music across a variety of media platforms.

A2 Develop your critical awareness of current popular music, along with music history and its wider context, in order to be able to write for specific target audiences.

A3 Develop your visual awareness and the technical skills required to create competent layouts

using the relevant IT software.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate your journalistic style and adapt your own writing skills clearly and

grammatically, appropriate to a range of media markets.

LO2 Produce a series of critical pieces that demonstrate your knowledge and research of current music issues as well as music history and its wider context.

LO3 Demonstrate the ability to choose appropriate visuals and produce competent layouts using the relevant IT software.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 130 No. of hours of independent activity 170 No. of hours of placement activity 0 This will comprise: Lectures, workshop and studio practice, discussion groups, group tutorials, independent study and research, IT instruction, self-directed study, project supervision and tutorial guidance

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

Weigh-ting (%)

Typical Indicative Assessment tasks

Assessment Type

Word Count

PORTFOLIO 100% A portfolio of written pieces and audio material as specified in the Unit Handbook

COURSEWORK

11 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Understanding through: Understanding of music genres and trends, music’s historical context and the current industry and its practices.

LO1, LO2

Knowledge of: A variety of industry target markets and what is required when writing for them. A range of research techniques and sources appropriate to project brief.

LO1, LO2

Skills in: Ability to produce innovative, intellectually critical copy while demonstrating competent written English language skills. Ability to use design principles and IT software for producing appropriate page layouts

LO1, LO2, LO3

REFERENCE MATERIAL2 Essential Brayfield, C. (2008) Arts Reviews: and how to write them, Kindle edition: Creative Essentials. Briggs, M. (2013) Journalism Next: A Practical Guide to Digital Reporting and Publishing, Washington DC: CQ Press. Hearsum, P. (2012) ‘Music Journalism’, ed. Turner & Orange, Specialist Journalism, London: Routledge. Houghton, R. (2014) Blogging for Writers: How authors & writers build successful blogs, Lewes: Ilex Press. Titchener, Campbell B. (2005) Reviewing the arts, 3rd ed. US: Lawrence Erlbaum Associates Inc. Talbot, M. (1995) ‘A Synthetic Sisterhood’, ed. Hall & Bucholtz, Gender Articulated: Language and the Socially Constructed Self, London: Routledge UCA library online resource: www.rocksbackpages.com Recommended Bangs, L. (2001) Psychotic reactions and carburetor dung, London: Serpent's Tail Kent, N. (2007) The Dark Stuff: Selected Writings on Rock Music 1972-1993, London: Faber Reynolds, S. (2015) Retromania: Pop Culture's Addiction to its Own Past, London: Faber Kovach, B and Rosenstiel, T. (2001) The Elements of Journalism, London: Atlantic Books Seabrook, J. (2000) Nobrow: the culture of marketing, the marketing of culture, London: Methuen Vejlgaard, H. (2007) Anatomy of a Trend, McGraw-Hill.

2 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

UNIT TITLE Feature Writing Unit Code EMJN5010 Location Epsom Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 22 April 2015

CONTENT This unit introduces you to feature writing, which is a fundamental part of journalism. You will learn about different kinds of features, from short news backgrounders to the substantial, multi-layered main features that drive magazine content. The unit will also introduce you to the technique of pitching. Being able to concisely articulate and ‘sell’ your idea to editors is a journalistic skill in its own right. Its importance cannot be underestimated. Features provide the critical context and thematic thrust to a magazine and are designed to draw in the reader and keep their attention. They can range from Blurred Lines (Robin Thicke’s Q&A Twitter disaster) to Alter Egos (from Ziggy Stardust to Burial), to Exposed (the sexualisation of pop music) and Iceage and the Right Wing Accusations (can the Danish punk band expect to flirt with Nazi imagery and not face criticism?) – all recent features in the music press.

This unit will introduce you to the craft of feature writing for specific target audiences, and to develop the skills necessary for your chosen career path. You will learn where to look for feature ideas, how to pitch your idea successfully, and apply different techniques to capture the reader’s attention. You learn how to hone your topical angle, and put into practice your research and communication skills to support your writing. You will also study media law, ethics and issues of copyright – all areas that you need to be informed about as a working journalist.

In this unit you will look at the role of editors and learn how to edit your writing, as well as examining emergent music trends, scenes and genres. Outline Syllabus • Identifying audiences and specific feature markets • Generating innovative story ideas • The art of the ‘pitch’

Becoming an editor

• The feature structure and developing a personal ‘voice’ in your writing

Media law and ethics

• Using research to create engaging and informative journalistic copy AIMS The aims of this unit are to: A1 Understand the art of feature writing and its place in journalistic practice, including ‘pitching’

innovative story ideas and topical angles.

A2 Further develop your writing skills and personal ‘voice’ to produce engaging and original copy for a specified market.

A3 Build on your professional skills through engagement with writing and editing processes, and adherence to deadlines. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Develop the critical skills to generate and ‘pitch’ innovative ideas for market specific features LO2 Demonstrate the ability to competently research and construct engaging and original features

appropriate to a specified market. LO3 Evidence professional skills appropriate to the industry, including engagement with writing

and editing processes, and adherence to deadlines. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity3 100 No. of hours of independent activity 200 No. of hours of placement activity 0 This will comprise: Lectures, workshop and studio practice, presentations, group tutorials, and independent study and research.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

Weigh-ting (%)

Typical Indicative Assessment tasks

Assessment Type

Word Count

33 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

PORTFOLIO 100% Portfolio of pitches and written pieces as specified in the Unit Handbook.

COURSEWORK

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Understanding through: Intellectual engagement with current music industry issues, genres and scenes

LO1, LO2

Knowledge of: Techniques for the creation of successful pitches A range of research techniques and sources appropriate to project brief Understanding of target markets and what is required when writing for them.

LO1, LO2, LO3

Skills in:

Identifying and generating innovative ideas Ability to produce genre specific copy while demonstrating competent and stylistically original written English language

LO1, LO2, LO3

skills Professional skills necessary for career planning and development, including effective working to deadline

REFERENCE MATERIAL4 Essential Kovach, B. and Rosenstiel, T. (2014) The Elements of Journalism, New York: Three Rivers Press Sumner, D & Miller, H (2012) Feature and Magazine Writing: Action, Angle, and Anecdotes, New York: Wiley & Sons Wheeler, S (2009) Feature Writing for Journalists (Media Skills) London: Routledge Quinn, F. (2013) Law for Journalists, Harlow: Longman Recommended Boynton, R. (2005) The New New Journalism: Conversations with America's Best Nonfiction Writers on Their Craft, New York: Vintage Books

Dodd, M & Hanna, M. (2014) Essential Law for Journalists, Oxford: OUP

Friedlander, J L. (2007) Feature Writing for Newspapers and Magazines: The Pursuit of Excellence, Boston: Allyn and Bacon Seabrook, J. (2001) Nobrow; the culture of marketing, the marketing of culture, New York: Vintage Westfall, PT. (1993) Beyond Intuition: A Guide to Writing and Editing Magazine Non-Fiction, Harlow: Longman

4 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

UNIT TITLE Magazine Project and Work Experience Unit Code EMJN5011 Location Epsom Level 5 Duration (number of weeks) 16 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 22 April 2015

CONTENT Magazines, websites or radio and TV broadcasts come together through group effort, with different people contributing different skills to create a successful outcome. You are now required to put into practice, as part of an editorial team, those elements you have learned on the course. Team working skills are a vital part of building your career. Yo u w i l l w o r k i n groups as editorial journalists to produce a magazine on a theme of your choosing, subject to approval. You will be supported through this project in technical workshops led by practitioners, sessions introducing key elements of teamwork, peer crits for development, discussions on individual roles within journalistic practice, and guidance on magazine viability from concept to finish. Syllabus outline

Technical workshops led by practitioners �Workshops introducing key elements of teamwork Peer crits for development

Discussion groups

Guidance on magazine viability from concept to finish

This unit also enables you to undertake a self-initiated work placement that is relevant to your potential career direction and which also contributes to the fulfilment of course aims and objectives. The placement will be governed by a learning agreement negotiated between you and your tutor that will identify learning outcomes specifically related to the nature of the placement you have chosen. The learning gained on placement will also provide content for your final year Portfolio Planning (PP). AIMS The aims of this unit are: A1 Demonstrate and apply journalistic, technical and analytical skills to produce an original

magazine publication with regard to industry conventions.

A2 Develop skills in critical appraisal of your own performance/output within the team, peer assess the work of others, and critique your final product.

A3 Develop knowledge and understanding of a professional context for your journalistic work,

and to begin to explore personal career aspiration. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Apply technical and journalistic skills approaching industry standard, and develop creative

solutions to a given brief. LO2 Develop professional teamwork skills and demonstrate critical appraisal of self, other team

members, performance and ideas. LO3 Reflect on the experience and evaluate how the learning achieved through the placement has affected your career aspirations, and understanding of the opportunities available in the music and media industries. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity5 120 No. of hours of independent activity 80 No. of hours of placement activity 100 This will comprise: Lectures, workshop and studio practice, discussion groups, group tutorials, self-critical review, peer assessments, group crits, live interviews (on and off site), work placement supervision and independent study and research.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

Weigh-ting (%)

Typical Indicative Assessment tasks

Assessment Type

Word Count

PORTFOLIO 100% Portfolio including finished magazine project and Critical Reflection Work Placement Research Report

COURSEWORK

55 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact) Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Understanding through: Relevant subject-specific magazine work and editorial issues Analysis and reflection on teamwork and group dynamics

LO1, LO2

Knowledge of: Journalistic techniques in an editorial context

LO2

Skills in: Practical and technical methods of market research, journalism and editorial production Professional skills, including group engagement, and adherence to deadlines Professional skills necessary for career planning, including engagement with tasks, working to deadline, group engagement and ability to learn from the experience to inform future career development

LO1, LO2, LO3

REFERENCE MATERIAL6 Essential Field, M. (2000) The writers guide to research: An invaluable guide to gathering material for articles, novels and non-fiction books, 2nd ed. Oxford: How to Books Hogarth, M. (2014) How to Launch a Magazine in this Digital Age, London: Bloomsbury McKay, J. (2013) The Magazines Handbook, London: Routledge Morrish, J. (2011) Magazine editing: In Print and Online London: Routledge Recommended Ang, T. (2000) Picture editing: an introduction. 2nd ed, Oxford: Focal Press Davis, S. (2006) The Guerilla Guide to the Music Business, London: Continuum Deckers, E. (2012) Branding Yourself: how to use social media to invent or reinvent yourself, London: Que Faust, B. & M. (2006) Pitch Yourself: Stand out from the CV Crowd with a Personal Elevator Pitch, London: Pearson Stam, D. & Scott, A. (2014) Inside Magazine Publishing, London: Routledge Plus UCA Careers Service (Careers Web resource http://community.ucreative.ac.uk/studentcareers)

6 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

UNIT TITLE Culture, Music and Identity Unit Code EMJN5012 Location Epsom Level 5 Duration (number of weeks) 20 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 22 April 2015

CONTENT In the first year you were studying debates around production of music and media. This year you will focus on the consumption of popular music and the broader context of media industries. You will analyse critical work on music and society, subcultures, fans and stars, as well as media discourses across journalism, film, TV, advertising and digital platforms.

We live in a consumer culture where sound and images play a fundamental role in determining social meaning and value. In this unit you will look at the role of audiences, politics and ideologies in contemporary media. You will also look at hierarchies of lifestyle, taste and identity within a range of contexts, from music video to print magazines.

We provide different methods for analysis, drawing on key theories and engaging in current debates. You will understand the contexts of theory and practice through essays and fruitful discussion in seminars. The intent of this unit is to broaden your frame of reference by studying your journalistic practice from various perspectives. We will examine such topics as representation, identity and consumption, putting your journalistic work in a social and cultural context. This unit is in two parts: in Semester One you focus on music culture, in Semester Two you look at the wider context of multiple media platforms. An important element of the unit is for you to make personal connections between theory and practice, preparing for your independent work in Year 3.

Finally, we will undertake a series of workshops in preparation for the Dissertation unit in Year 3, working towards the production of a dissertation proposal which identifies a relevant research topic and methodology for you to carry forward into the final year of study.

Indicative syllabus content:

Audiences: stars and fan culture, subcultures and scenes Ideologies: taste and hierarchies, high and low art Music and identity: gender, class and race Musical gatekeepers: the politics of communication. From DJs and writers to bloggers and

vloggers Music and place: crossing borders, global culture and national pride Audio-visual: Music in advertising and film soundtracking Technologies: changing cultures, from sheet music to digital download and Retromania

Audiences: theories of media reception and consumption Ideologies: media politics and power Media democracy: citizen journalism and media activism Consumer society and advertising: from advertorial to adbusting Global media: regulation and policy E-media and the online revolution: creating new meaning and identities

AIMS The aims of this unit are to: A1 Introduce theories of identity, communication and consumption related to music and media

culture, and consider them within a wider social, historical and political framework. A2 Develop skills of discussion and evaluation of theoretical arguments within their contextual

framework and relationship to journalistic practice. A3 Develop and consolidate critical methods and conventions in your academic research and

writing. A4 Help you identify a suitable topic and relevant research methodology for the formulation and

proposal of a dissertation. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate critical understanding of key theoretical music and media debates within the

wider contextual framework. LO2 Articulate a research-led argument based on evaluation of key theoretical ideas in music and

media; and formulate links between academic theory and journalistic experience. LO3 Undertake appropriate research and produce coherent, relevant and critical essays using

Harvard conventions of referencing. LO4 Identify a suitable topic and relevant research methodology for a dissertation project

appropriate to your own interests and/or journalistic practice.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity7 45 No. of hours of independent activity 255 No. of hours of placement activity 0

This will comprise: Lectures, group seminars, tutorials, study skills workshops, independent study, research.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

Weigh-ting (%)

Typical Indicative Assessment tasks

Assessment Type

Word Count

PORTFOLIO 100% Two written essays

COURSEWORK

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical 77 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Understanding through: Relevant research and a critical understanding of key theoretical debates within the wider contextual framework Development of a research-led discussion based on evaluation of key theories in relation to journalistic practice

LO1, LO2

Knowledge of: Articulation of ideas within a coherent structure using Harvard conventions

LO3

Skills in: Identify a suitable research topic for dissertation

LO4

REFERENCE MATERIAL Essential Curran, J. & Seaton, J. (2009) Power Without Responsibility, London: Routledge Gauntlett, D. (2008) Media, Gender and Identity, London: Routledge Fiske, J. (2010) Understanding Popular Culture, London: Routledge Frith, S. & Goodwin, A. (1990) On Record: Rock, Pop & The Written Word, London: Routledge Johnson, S. & Ensslin, A. (2007) Language in the Media: Representations, Identities, Ideologies, London: Bloomsbury Shepherd, J & Wicke, P (1997) Music and Cultural Theory, Cambridge: Polity Recommended Albarran, A. (2013) The Social Media Industries, London: Routledge Storey, J. (2009) Cultural Theory and Popular Culture: A Reader (4th ed), Harlow: Pearson

Davies, N. (2008) Flat Earth News: An Award-winning Reporter Exposes Falsehood, Distortion and Propaganda in the Global Media, London: Chatto & Windus Donnelly, K. (2005) The Spectre of Sound: Music in Film and Television, London: BFI Dhiraj, M. (2012) Twitter: Social Communication in the Twitter age, Cambridge: Polity Gelder, K. (2005) The Subcultures Reader, London: Routledge Hinton, S. & Hjorth, L. (2013) Understanding Social Media, London: Sage Kassabian, A. & Mundy, J. (1999) Popular Music on Screen: From the Hollywood Musical to Music Video, Manchester: MUP Miller, Paul D. (2008) Sound Unbound: Sampling Digital Music and Culture, Boston: MIT Press Murray F. & Mark A. N., eds., (2004) That's the Joint: The Hip Hop Studies Reader, New York: Routledge O’Brien, L. (2013) She Bop: The Definitive History of women in popular music (3rd edition), London: Jawbone Thornton, S. (1996) Club Cultures: Music, Media and Subcultural Capital, Cambridge: Polity Reynolds, S. (2011) Retromania: Pop Culture’s Addiction to its own past, London: Faber Street, J. (1997) Politics and Popular Culture, Cambridge: Polity Bertrand, I. & Hughes, P. (2005) Media Research Methods: Audiences, Institutions, Texts, Basingstoke: Palgrave Macmillan Davies, M. (2007) Doing a Successful Research Project, Basingstoke: Palgrave Macmillan Reardon, D. (2006) Doing Your Undergraduate Project, London: Sage

UNIT TITLE Music Journalism Study Abroad Option Unit Code EMJN5013 Location Epsom Level 5 Duration (number of weeks) 13 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 22 April 2015

CONTENT This unit is designed for those students who wish to study overseas in the second term of Stage 2. The pathway enables students to gain the relevant number of credits for the year by combining two

of the first term units – Music Media and Industry and Culture, Music and Identity – into a 100% portfolio unit, before students go on their international experience in semester two. In Music Media & Industry you will really begin to find your own ‘voice’ and start expressing yourself and your passion for music. You will find out about other writers and how you fit into a long, robust tradition of music journalism. At their best, music writers create the myths that surround the artist. Whether the writer just reports or takes a more iconoclastic tone, he or she is giving an informed, specialist and entertaining interpretation of music releases. After reflecting on key writers from different eras you will develop your own style. The unit will focus on how you can express yourself in a critically constructive way. In order for people to listen to what you have to say, you have inform yourself about writers, topical trends and issues, and demonstrate that knowledge. You will practice writing track, album and live reviews, which are the essentials of music journalism. But they are not as easy as you might expect. How do you give a friendly band’s new album a meagre two stars when they have invited you to their gig and the PR has plied you with drinks and food? What do you say when the media climate is ‘pro’ a certain artist and you think it is all hype? These are just some of the issues you will be grappling with. You will learn to review for different readerships, as well as hone your research skills and writing style to produce challenging, informative copy. As well as sharpening your critical judgment, this unit will further develop your knowledge of music as you research past and present bands, solo artists, scenes and subcultures. You will gain more invaluable practice using industry-standard software such as InDesign, Photoshop and Adobe Audition. You will also be expected to put your writing and editing skills into practice with The Wave course blog, and develop your musical aesthetic and radio journalism with the regular podcast. You will be encouraged to enter your work into the Guardian Student Media Awards. These projects will help you develop your knowledge and critical awareness of the music industry and give you added skills in writing across media platforms.

In the unit Culture, Music & Identity you will focus on the consumption of popular music and the broader context of media industries. You will analyse critical work on music and society, subcultures, fans and stars, as well as media discourse across journalism, film, TV, advertising and digital platforms.

We live in a consumer culture where sound and images play a fundamental role in determining social meaning and value. In this unit you will look at the role of audiences, politics and ideologies in contemporary media. You will also look at hierarchies of lifestyle, taste and identity within a range of contexts, from music video to print magazines.

We provide different methods for analysis, drawing on key theories and engaging in current debates. You will understand the contexts of theory and practice through essays and fruitful discussion in seminars. The intent of this unit is to broaden your frame of reference by studying your journalistic practice from various perspectives. We will examine such topics as representation, identity and consumption, putting your journalistic work in a social and cultural context. An important element of the unit is for you to make personal connections between theory and practice, preparing for your independent work in Year 3.

Finally, we will undertake a series of workshops in preparation for the Dissertation unit in Year 3, culminating in the production of a dissertation proposal which identifies a relevant research topic

and methodology for you to carry forward into the final year of study. For those abroad this component can be conducted via email and Skype. AIMS The aims of this unit are to: A1 To introduce theories of culture, identity and communication related to music and media

culture, and to consider them within a wider social, historical and political framework. A2 Further develop and consolidate critical methods and conventions in your academic

research and writing, and identify a suitable topic for a dissertation proposal. A3 Encourage your innovative use of the written and spoken word to convey information and

critical evaluations about music and lifestyle to a consumer across a variety of journalistic pieces and publications.

A4 Expand your visual awareness and your technical skills required to create accurate visually appropriate copy through use of appropriate computer software.

A5 Develop your understanding of different learning environments, including perspectives in

language, culture and ways of studying. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate critical understanding of key theoretical music and media debates within the

wider contextual framework. LO2 Evidence critical methods and conventions in your academic research and writing, and identify a suitable topic for a dissertation proposal. LO3 Demonstrate your own journalistic style and adapt your writing skills clearly and

grammatically, appropriate to a range of journalistic genres and markets. LO4 Demonstrate the ability to produce editorial design solutions using appropriate IT software. LO5 Demonstrate your knowledge of different learning environments, including perspectives on

language, culture and ways of studying. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity8 45 No. of hours of independent activity 255 No. of hours of placement activity 0 This will comprise: Lectures, workshops and studio practice, discussion groups, group tutorials, independent study and research, IT instruction, self-directed study and tutorial guidance

88 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

Weigh-ting (%)

Typical Indicative Assessment tasks

Assessment Type

Word Count

Portfolio 50% Series of written exercises and audio material as outlined in unit handbook

COURSEWORK

Written essay 50% COURSEWORK

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 50% Coursework

Report Coursework

Dissertation Coursework

Portfolio 50% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Understanding through: Critical engagement with current music trends, music’s historical context, the contemporary industry and its practices.

LO1

Knowledge of:

Critical methods in academic research and writing. Different learning environments, including perspectives on language, culture and ways of studying.

LO2, LO5

Skills in: Writing clearly and grammatically across a range of publications and platforms. Producing editorial design solutions using appropriate IT software.

LO3, LO4

REFERENCE MATERIAL9 Essential Fiske, J. (2010) Understanding Popular Culture, London: Routledge Johnson, S. & Ensslin, A. (2007) Language in the Media: Representations, Identities, Ideologies, London: Bloomsbury Frith, S. & Goodwin, A. (1990) On Record: Rock, Pop & The Written Word, London: Routledge Brayfield, C. (2008) Arts Reviews: and how to write them, Kindle edition: Creative Essentials. Hearsum, P. (2012) ‘Music Journalism’, ed. Turner & Orange, Specialist Journalism, London: Routledge. Kovach, B and Rosenstiel, T. (2014) The Elements of Journalism, London: Atlantic Books Recommended Albarran, A. (2013) The Social Media Industries, London: Routledge Storey, J (2009) Cultural Theory and Popular Culture: A Reader, (4th ed), Harlow: Pearson O’Brien, L (2013) She Bop: The Definitive History of women in popular music (3rd edition), London: Jawbone Thornton, S (1996) Club Cultures: Music, Media and Subcultural Capital, Cambridge: Polity Bangs, L. (2001) Psychotic reactions and carburetor dung, London: Serpent's Tail Seabrook, J. (2000) Nobrow: the culture of marketing, the marketing of culture, London: Methuen Westfall, P.T. (1994) Beyond intuition: a guide to writing and editing magazine non-fiction, New York: Longman Baskerville, D. (2012) Music Business Handbook and Career Guide, London: SAGE Publications 9 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.