Course Specification

Transcription

1 LEEDS BECKETT UNIVERSITY Course Specification BSc (Hons) Audio Engineering (BAUEN) Our courses undergo a process of review periodically, in addition to annual review and enhancement. Course Specifications are updated on an annual basis to include modifications approved through our University s quality assurance processes. This Course Specification provides an indication of the current curriculum. If any changes are made to material information an updated Course Specification will be made available.

2 Faculty of Arts, Environment & Technology School of Film, Music and Performing Arts Award and programme title: BSc (Hons) Audio Engineering Level of qualification: Level 6 Interim awards available: Award Title Level DIPHE Audio Engineering L5 CRTHE Audio Engineering L4 BSC Audio Engineering L6 Length and status of programme and mode of study Programme Length (years) Status (FT/PT/SW) Mode (campusbased / DL or other) BSc (Hons) Audio Engineering 3 Years FT Campus-based BSc (Hons) Audio Engineering 4 Years SW Campus-based BSc (Hons) Audio Engineering 6 Years PT Campus-based Course Specification Overview and Aims The BSc (Hons) Audio Engineering will deliver a high quality undergraduate experience in the engineering and technical skills area of the very broad Music/Audio/Sound Technology subject area. Building on the popular and well respected BSc (Hons) Music Technology course at Leeds Beckett, this course adds engineering specific topics and caters for students who are looking for a route into the professional audio industries that provides a stronger technical and engineering skills base than many of the other courses in this subject area delivered in the UK. The course aims to develop student s skills in six broad subject areas: Audio Engineering, Audio Electronics, Acoustics, Audio Recording, Audio Programming and Professional

3 Practice. Graduates will be capable problem solvers and designers in these main subject areas and will be reflective and professional in their work. The course addresses the requirement of the professional audio industries for technically competent graduates who are capable of solving complex audio engineering problems. This need is highlighted by some of the latest research from Creative and Cultural Skills, feedback from our current accreditation body for the music courses, JAMES, and discussions with visiting lecturers and employers. Graduates will be able to design audio systems for a wide variety of purposes, solve acoustic problems through systematic measurement, analysis and design and design software and hardware tools for music recording and reproduction. Graduates will have a systematic understanding of audio in the digital, analogue and acoustic domains. As well as addressing some of the specific needs of the professional audio market, the course will address the needs of the UK marketplace for graduates with wide skills in science, technology, engineering and mathematics. This course will have a strong engineering and mathematical focus with an applied context within creative environments such as the recording studio and performance venues. Alongside the engineering focus, the course will allow students to work with creative practitioners from the School of Film, Music and Performing Arts and also the wider creative network in the Leeds area. Audio Engineering students will mix with musicians, producers, filmmakers, composers and performers, providing valuable engineering and technical skills and knowledge and developing strong professional links for the future. Leeds has an exciting and vibrant arts and music scene for our undergraduates and graduates to involve themselves in. Course Learning Outcomes 1 Use a systematic understanding of the factors affecting sound recording and reproduction to solve complex audio engineering problems and critically evaluate these solutions. 2 Apply a conceptual understanding to the critical analysis, critical evaluation and design of signals, circuits and devices used for audio. 3 Apply a synthesis of appropriate software and interfacing tools in order to design music production, performance and processing tools in creative and technical contexts. 4 Demonstrate an applied understanding of the physical nature and behaviour of sound and select and apply appropriate techniques to devise solutions to acoustical issues and problems. 5 Record and manipulate audio using analogue and digital tools to produce high quality musical and audio artefacts and be able to critically evaluate these recordings. 6 Demonstrate a level of professional practice and enterprise relevant to the subject area and be able to critically reflect on this practice with reference to a global context.

4 Course Structure Level 4 Level 4 directly addresses the 6 course curriculum areas. Students will be introduced to the key techniques applied in the professional audio industries and will consolidate these techniques throughout the year, ensuring that the students have the skills required to progress to the next level. Students will be introduced to the recording studios through Audio Production Techniques which develops basic studio and audio manipulation skills. Lab sessions will complement the studio sessions to develop individual skills and to develop the concept that audio production does not take place solely in recording studios. Acoustics and Critical listening and Analogue and Digital Audio Systems introduce the students to key concepts of audio in the acoustic, analogue and digital domains. Students will be able to describe and discuss the behaviour of audio within the tools that they use and the spaces within which they operate as practitioners. Creative Audio Programming introduces students to the software development process and develops students understanding of effects and synthesis tools, allowing them to build and develop their own examples of these. Audio Engineering Skills introduces students to the mathematics and problem solving skills required by audio engineers. Students will develop these skills in an applied way using through the use of industry standard programming tools such as C and Matlab. This will ensure that they have both the mathematical tools and the programming tools to apply higher in the course. Through taking a mathematical approach to problem solving, students will develop skills and an appreciation of the links between audio, music and mathematics. The Audio Electronics module introduces student to the electronic principles behind many of the tools that they will use as audio engineers. This module will also take an engineering problem solving approach and will provide students with an appreciation of electronic systems that are often treated as black box by non technical users. Semester 1 Core (Y) Semester 2 Core (Y) Analogue and Digital Audio Y Audio Electronics Y Systems Acoustics and Critical Listening Y Creative Audio Programming Y Audio Engineering Skills Y Audio Production Techniques Y Level 5 Level 5 allows students to develop their skills and understanding of the key curriculum areas, introducing new topics and concepts and providing additional context.

5 Digital Signal Processing, Audio System Design and Acoustics and Psychoacoustics develop the audio programming, audio engineering and acoustics threads with more advanced topics and applied practice. These subject areas are predominately laboratory based with guided exercises designed to develop the students understanding and their skills of enquiry. The Audio Transducer Design module builds on previous years study by focusing on a key aspect of audio engineering systems. The design characteristics of audio devices will be taught alongside an appreciation of cost vs performance considerations required by industry designers. The optional modules allow further study and specialisation from the first semester modules and also provide possible directions and inspiration for Level 6 study. These options are also available to the other courses in the Music area and are more applied in their nature, allowing students to explore creative and technical challenges with other students from related subject areas. The Audio Design Project module presents students with an opportunity to draw on aspects of their study to date and on areas of particular interest and investigate a real world audio design example. Semester 1 Core (Y) Semester 2 Core (Y) Acoustics and Psychoacoustics Y Audio Design Project Y Audio System Design Y Audio Transducer Design Y Digital Signal Processing Y Options: Live Sound Interactive Audio Systems Mixing and Mastering Level 6 Level 6 includes 2 key modules that build on the strong acoustics and audio engineering themes and applies these in an industry context. Through these core modules students will develop their understanding of the tools that they use and the spaces in which they operate as practitioners. Students will develop reflective practice and their synthesis and evaluative skills. The double credit Audio Engineering Project module will allow students to explore a chosen subject area in great depth over the entire year. Students will have the opportunity to work with external clients or other practitioners within the faculty. Students can choose two optional modules from a wide pool, which will allow them to explore two chosen subject areas which build on specialist themes in the lower levels. There are also module choices within these options which will introduce students to more wider curriculum areas, giving them inspiration for possible career paths. This structure allows a high degree of specialisation in the final year. All modules at Level 6 allow for specialisation within the module subject area with open briefs where

6 the nature of the work can be negotiated with the tutor. Students are expected to initiate and conceive their own work at this level. Lectures, seminars and tutorials will present ideas and concepts and students will be required to put these into practice. The option modules here represent a pool of modules that can be accessed by all the music courses. These modules will run in both semesters to allow students to access their choices. All these modules currently support at least 2 groups of students. Semester 1 Core (Y) Semester 2 Core (Y) Applied Acoustics or Sound Y Applied Acoustics or Sound Y Reproduction Systems Reproduction Systems Game Audio Game Audio Audio Visual Interfaces Audio Visual Interfaces Music Technology in the Community Music Technology in the Community Spatial Audio Spatial Audio Audio Engineering Project (40 credits) CORE Learning and Teaching Details relating to contact hours and other key information sets (KIS) are available on the course page of our Online Prospectus on our website. Learning and Teaching Approaches Our Learning and Teaching Strategy is based on the Vision, Values and Strategic Themes set out in the Strategic Plan Our vision is: to be acknowledged for our commitment to student success, our innovation and enterprise, our global reach and strong local impact. Our Learning and Teaching Strategy has strong connections with other strategies including; Widening Participation, Research and Enterprise, Schools Partnership, Employability and Human Resources. We are committed to the following values: Inspiring We share our values and ideas with passion, energy and commitment, supporting all to achieve their potential. Creative We stimulate innovation, imagination and discovery, generating challenging and original ideas. Enterprising We identify and maximise opportunities using our resources widely and building on our strengths. Purposeful We are clear as to our shared plan and committed to delivering this efficiently and effectively. Respectful

7 We are inclusive, supportive and ethical in our behaviours and actions, actively valuing diversity. Professional We expect and uphold high standards, leading by example with integrity and responsibility On the BSc (Hons) Music Technology the course team have extensive industry experience and can provide inspiring and contextualised delivery. Teaching and learning are clearly related to industry standards and professional practice. Guest lecturers from industry regularly supplement the regular delivery with master-classes and industry seminars. Many learning activities on the course are project based, which encourage students to explore their own technical ideas and develop innovative solutions to audio problems. Enterprise is embedded throughout as students are encouraged to explore the market and context for their skills, ideas and solutions. Diversity and inclusivity is encouraged by the discussion of a broad range of cultural issues related to the subject area. Our computing labs and recording studios are fully accessible for disabled users and students with learning contracts can access personalised support and flexibility in their assessment. Learning and Teaching Activities The course delivery is based around a core of laboratory, practical and seminar tuition supported by lectures. Guest lecturers from industry and academia help to emphasise professional and intellectual development and to ensure that practical studies are underpinned by a contextual and theoretical understanding. Demonstrations of equipment, techniques and concepts will take place in seminar sessions in order to contextualise and illustrate some of the theory covered in lectures. Students will also be required to carry out their own investigations in both supervised and non-supervised environments. Learning and teaching takes place in an appropriate range of industry standard recording studios, laboratories and computer facilities and provides a challenging and professional learning environment, which usefully mirrors the context of professional practice. In higher levels of the course students will be expected to work on location and engage in local industry for some of their practical work. Students will be expected to produce artefacts as part of the assessment for the course and this may take the form of software, hardware, recordings or installations. Clear longitudinal themes through the course allow students to revisit subject areas and build on previous learning. These themes are clearly related to industry skills, QAA benchmarks and UK-SPEC guidelines.

8 Group work engages students in developing their interpersonal and professional skills. Through employing interpersonal skills and working as members of teams students develop their understanding of project management and enterprise. Collaboration is encouraged on project work both within the course and across the wider school of Film, Music and Performing Arts. Graduate Attributes (UG only) All our undergraduate students will develop three graduate attributes. Students will be: Enterprising, digitally literate and have a global outlook. Digital literacy is embedded in all areas of the course. The professional audio industry uses predominately digital means for the recording, manipulation and distribution of music and students will gain extensive experience with a range of digital tools. Students will design and build their own digital tools for audio generation and processing in modules such as in Creative Audio Programming, Audio Engineering Skills and Digital Signal Processing, giving them a unique insight into the inner workings of the digital tools that can be used in creative and technical contexts. The course will explore the history and context of the professional audio industry and look at how the digital age has impacted on practices and technologies within the industry. Students will explore their own practice within a digital context. Strong digital presentation and communication skills are developed during the course through technical reports, presentations and essays. Programming skills are developed The course has a strong industry focus and students will explore the nature of the industry and how various areas can be exploited. Students will be exposed to guest lectures and workshops with industry practitioners who have been enterprising and successful in the industry. The course encourages creativity and innovative problem solving which is essential for enterprise. Students will work with external clients and practitioners from the wider creative industries, developing a strong professional network from which to build a successful and enterprising career. Project work and collaboration will encourage enterprising team work on industry style projects. Many students go on to freelance careers and part of the final year project considers this with a series of industry guest lectures and workshops. Employability events as part of Futures Fest introduce students to industry partners and provide a series of workshops designed to enhance students CV s and employability. The course features strong contextual threads throughout which consider the student's own professional practice within a national and global context. The professional audio industry is a global one and students will be made aware of how music is distributed and exploited in a global market. Specific topics such as speech intelligibility for different languages, international differences in acoustics standards and content delivery for different global markets are used to engage students in global issues. International journals, conferences and publications are used throughout the course as teaching and learning material. In the higher levels of the course there is opportunity for community volunteering and working on a wide array of audio projects throughout the local area. Students have the opportunity to study abroad for a semester in Level 5.

9 Use of the Virtual Learning Environment The VLE is used as a repository for lecture and tutorial material, assessment documents and background material relevant to each module. The vast majority of coursework submissions take place through the VLE. This makes submissions easy to track and allows staff to provide online feedback directly on the submission. Turnitin is used for major written submissions to allow developmental plagiarism checks and targeted feedback on student work. The Grademark system within Turnitin is used extensively to provide targeted and meaningful feedback on student work. 'Grade Centre' and 'My Grades' are used to keep students informed of their progress on individual modules with relation to assessed work. Module handbooks, course handbooks and assignment briefs are all provided electronically through the VLE. Module discussion forums, blogs, wiki's and audio-visual material all add value to the online presence for each module. Some modules make use of the assessments feature of the VLE for online tests, both summative and formative. Where the module subject area requires specific theoretical and technical knowledge, online multiple choice tests have been shown to be highly effective in developing this knowledge. Tests are designed such that instant feedback is built into the test questions. This is utilised in Audio System Design, Acoustics and Psychoacoustics, Acoustics and Critical Listening and Analogue and Digital Audio Systems. Online journals are used as an assessment tool in Digital Signal Processing. This is an appropriate and innovative method for assessing the software development process. Use of Blended-Learning N/A Assessment Strategy There is strong use of industry style tasks for assessment throughout the course. Hands on practical and laboratory based tasks help to develop key industry skills and techniques. All assessment is contextualised and related to the target industry. A key learning outcome for the course is related to reflective professional practice and students will be required to reflect on, and discuss the context around, their own practice. Assessment is through a mix of practical tasks, technical reports, essays, phase tests and products as appropriate to the particular subject area. Assessment points are staggered

10 through the year to help to manage the student workload and formative tasks are used to lead up to summative assessments, giving students valuable feedback and structure to their work. Presentations and draft reports are used widely on the course as formative tasks as a valuable opportunity to provide developmental feedback and develop student s communication skills. There are clear pathways through the course related to the key subject areas and it is made clear to students where module content and assessments feed into following modules. An example of this is Analogue and Digital Audio Systems feeding into Audio System Design and then into Sound Reproduction Systems. Each module covers a similar subject area and each require development of technical report writing skills and practical audio analysis skills. The feedback from previous years can be used to develop work in the following years. This is also the case in the Acoustics thread. In the final year assignment briefs are more open and students will be expected to initiate their own work. The assessment in this level takes the form of a proposal followed by a product/portfolio/report after completion of the work for the module. Many of the modules at this level allow for off-site activities which engage with external clients, the local community and local music industry. Consistency in approach and grading is maintained through tight marking criteria and clear expectations laid out in the assignment briefs. At this level support is more individualised which allows tutors and students to maintain a clear dialogue with regards to aims, objectives and expectations for assessed work. Feedback on Assessed Coursework The VLE is heavily utilised as a vehicle for summative feedback. Many assessments are submitted via the VLE and written feedback is returned on this submission through standard proformas and rubrics. Where submissions are physical, feedback sheets will be made available to the students within the university agreed period. Some modules will use audio feedback. Formative and developmental feedback in the recording studio and laboratory environments is provided through regular tutor critique and peer discussion sessions. This is a valuable part of the developmental process and students will be encouraged to engage in this process in order to understand how to put their feedback into practice. In many of these sessions students will be working reasonably independently and tutors can move between individuals and groups providing feedback on a rolling basis. It is expected that students will receive weekly formative feedback on their work. Feedback on project work in Level 6 is provided on a one-to-one basis through regular meetings with the project supervisor. However, students can access a wide range of specialist staff in the Music, Sound and Performance team for specific subject guidance and advice. Module Assessment Methods

11 Core (Y) End Examination Phase Examination Course Assignment Module Titles Acoustics and Critical Listening, Y level 4 Audio Engineering Skills, level 4 Y Project Final Project Placement File Learning Contract Creative Audio Programming, Y 100 level 4 Analogue and Digital Audio Y Systems, level 4 Audio Production Techniques, Y 50/50 level 4 Audio Electronics, level 4 Y Audio System Design, level 5 Y Digital Signal Processing, level 5 Y Audio Transducer Design, level Y 50/50 5 Audio Design Project, level 5 Y Acoustics and Psychoacoustics, Y level 5 Live Sound (Option), level 5 50/50 Interactive Audio Systems (Option) level 5 Mixing and Mastering (Option), Level 5 50/ 50 Sound Reproduction Systems, Y 70/30 level 6 Applied Acoustics, level 6 Y Audio Visual Interfaces (option) level 6 Spatial Audio (option), level Game Audio (option), level 6 80/ 20 Music Technology in the Community (option), level

12 Audio Engineering Project, level 6 Y Employability and Professional Context The course has a strong industry focus throughout. Students will work on a wide variety of industry style projects throughout the course. Employability is embedded in the course and professional practice is encouraged throughout all coursework. A placement year is available and off-site coursework activities are encouraged throughout. The music courses in the faculty of Arts Environment and Technology are accredited by JAMES (Joint Audio Media Education Support) who are backed by the Music Producers Guild, Association of Professional Recording Services and UK Screen Association. JAMES accreditation ensures that the curriculum is up to date and relevant for the industry and equips graduates with a strong and appropriate range of skills. Leeds Beckett is the first JAMES Integrated Learning Centre in England. Possible career progression from this course include audio equipment design, system design and installation, acoustics, studio and live sound engineering, music production, game audio, recording industry work, both as employees and freelance practitioners. 36% of the music industry is self-employed (CCSkills, 2011) and many graduates go onto freelance careers. The course provides the guidance and confidence to do this. The course leads naturally onto the Leeds Beckett Postgraduate courses in Audio Engineering, Music Technology, Sound Design and Sound and Music for Interactive Games. The Institute of Acoustics Postgraduate Diploma in Acoustics and Noise Control delivered here at Leeds Beckett (and several other institutions) is also a natural progression option for students wishing to specialise in acoustics. The course allows students to network with engineers, musicians, producers, games designers, filmmakers and performing artists in order to develop a wide network of contacts which may lead to further collaborations and partnerships upon graduation. Regular guest lectures and master-classes from industry practitioners allow students a window into the industry they will be moving into. The course taps into a strong network of staff contacts, the vibrant local music scene and the JAMES network (Music Producers Guild, UK Screen, APRS) in order to provide input to the course from industry practitioners. Leeds has a vibrant and exciting live music scene and the students on this course are deeply involved in this as musicians, DJ s, promoters and sound engineers. Students on the course have the opportunity to work with the Students Union on music events at both campuses. Work-Related Activities Industry style projects occur throughout the course. These are informed by industry practitioners, staff industry experience and input from JAMES accreditation.

13 Examples include: Game Audio Development and implementation of a game level in an industry standard game engine. Live Audio Range of real life live audio projects at gigs and performances. Audio Production Techniques Range of short audio production tasks to introduce students to the kind of tasks that they will encounter in the industry. Audio Engineering Project Students can work with external clients or other students in the faculty on a live project. This project develops students independence, professionalism, project management and industry understanding. Audio Design Project Students respond to an industry style design brief, developing teamwork, time management and design skills. Music Technology in the Community Students devise and carry out a project with a community group. This involves the opportunity for volunteering. Acoustics and Psychoacoustics A lab task which involves the use of personal dosimeters to analyse noise exposure in a real music industry environment. Mixing and Mastering Industry style project including mastering and mixing for clients and consideration of the professional skills and qualities required for each role. Digital Signal Processing - Software design project with extensive consideration for the software design lifecycle and project management. Creative Audio Programming Creation of a series of plugins that can be used within an industry standard DAW. The Music and Audio industry in the Leeds area is extremely strong and provides many opportunities for students to gain experience and engage with industry, particularly in terms of live events and music performance. Many of our students are active practitioners throughout the area and closely involved in the industry. An optional placement year is available between Levels 5 and 6. Where students choose to go on a placement year they are supported through this process by a dedicated placement academic and placement administrator officer. Students are required to find their own placement but are provided with contacts for establishments where students have previously been on placement. Placement students are visited by a placement academic during their placement and are required to write a reflective journal on their experience. Placement or Work-Related Activity Level: This takes place in all levels. Placement or Work-Related Activity Length in Weeks: Work related activity does not take place in a block style so has been quantified as a weekly figure here. Level 4 3 hours per week throughout the year. Level 5 2 hours per week throughout the year. Level 6 up to 10 hours per week depending on project choice.

14 Placement year between Levels 5 and 6 (optional). Type of Placement or Work-Related Activity: There are a wide variety of methods used here. In lower levels this is through simulations but in Levels 5 and 6 there is a mixture of live projects and volunteering available to the students. Reference Points used in course design and delivery All our courses leading to Leeds Beckett University awards have been designed and approved in accordance with UK and European quality standards. Our courses utilise the Frameworks for Higher Education Qualifications (FHEQ) and relevant subject benchmarks (where these are available) and professional, statutory and regulatory body requirements (for professionally accredited courses). We review our courses annually and periodically, responding to student feedback and a range of information to enhance our courses. Our University is also subject to external review by the Quality Assurance Agency. Our latest report can be found on the QAA website at We appoint External Examiners to verify that our University sets and maintains standards for awards which adhere to relevant national subject benchmark statements and the FHEQ (UK), ensure standards and student achievements are comparable with other Higher Education Institutions in the UK, with which they are familiar, and ensure that assessments measure achievement of course and module learning outcomes and reach the required standard. External Examiners may also provide feedback on areas of good practice or potential enhancement.

15 Record of Enhancement No. Detail of modification (Provide a brief description of the modification and where the Course Specification has been updated) 1 Level 5 Module, Digital Signal Processing change of assessment weighting from Project 70%/Portfolio 30% to Phased Exam 40%/Portfolio 60%. Slight change of wording in Module Content and change of module leader from Michael Ward to Will Barker Date Effective (Indicate the academic year of entry and course level(s) to which the modification will apply) September Level 5 Live Sound Module change of assessment weighting from 40/60 to 50/50 September 2016

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