Course Specification

Transcription

1 LEEDS BECKETT UNIVERSITY Course Specification BA (Hons) Music Production and Performance (BAMPP) 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 & Performing Arts Award and programme title: BA (Hons) Music Production & Performance Level of qualification: Level 6 Interim awards available: BA Music Production & Performance 6 DIPHE Music Production & Performance 5 CRTHE Music Production & Performance 4 Length and status of programme and mode of study: Programme Length (years) Status (FT/PT) Mode (campus based/dl or other) FT 3 Campus PT 6 Campus Course Specification Overview and Aims Music production and performance aims to brings together performance, production (technical and creative) and composition and arranging in such a way as to provide a balance between traditional music skills and the kind of skills, techniques and knowledge necessary to develop and sustain a career in the music industries in its present form. The traditional view of education producing performers or producers is not matched by the multi-skilled individuals who work across these areas within the music industry. As such, the course recognises the need equip students with the knowledge, skills and ability to work in a rapidly shifting musical world where the majority of performances are received through production. In this way the course places itself firmly in the present by providing an opportunity to develop musical skills and graduate attributes that prepare students for work within the music industries.

3 The course development team have recognised that there has been a significant shift in the way music, and music technology, is delivered in schools and post 16 colleges, and the impact this shift will continue to have on applicants to music courses in higher education. In addition the development team is aware that music education often has to have a currency which reflects contemporary trends and therefore has to be aware of artistic and cultural change. Consequently, the course is designed for aspiring musicians who will have undergone formal training at post 16 level and acquired a good level of skills in performance and music technology. These students will demonstrate an ambition and determination to succeed in the music industries and recognise that their success depends on developing skills, knowledge and abilities in a community of like minded, enthusiastic people whose interests and skills encompass music in many forms from rock, pop, jazz and commercial music to experimental, dance, film and underground. The course has therefore been developed to reflect the changes and the significant shift in the way that musicians use and interact creatively with technology. The key focus of the Music Production and Performance degree is in developing and expanding relevant skills to provide a secure foundation for future success. The course is founded on the principle that by the end, graduates will have acquired a wide range of relevant professional skills which will allow them to compete in a number of areas in the music industry. Graduates from the course will have developed a wide range of expertise, knowledge and abilities in the areas of performance, production and composition and arrangement underpinned by an intellectual understanding of how the music industries work culturally, socially, and economically. The course is organised around integrated pathways of production and performance. To be able to produce music, it is generally accepted that you need performers unless you are working in the area of composition and arranging which is also a key aspect of the course. Bringing these different areas together and enhancing these with digital media, music industry and academic subjects will produce a coherent whole where the modules offered come together through the creative process. The course is structured in such a way that encourages students to develop their individual voice from a strong musical foundation. The first year will develop technical skills and abilities to broaden knowledge, understanding and experience of music performance and production. The second year will continue to develop their skills and ability while offering greater opportunity to explore and develop individual interests through extended projects. The final year will consist of a number of major projects which will allow the opportunity to apply their learning by working to professional standards in their specialist areas. Course Learning Outcomes 1 Demonstrate high levels of technical, artistic and critical skills involved in preparing and presenting a performance.

4 2 Engage artistically with a range of production techniques involved in creating, performing and recording music by demonstrating competence with appropriate technological procedures. 3 Conceive, develop and manipulate musical ideas using a range of technical and creative strategies to compose idiomatically for a range of resources. 4 Reflect and express ideas about music using appropriate theoretical terminology and analytical approaches. 5 Relate music performance and production to its historical, social, cultural, political and economic contexts using relevant scholarly research. 6 Work independently and as a member of a team developing awareness of career opportunities, enterprise, global reach and the high standards of professional engagement. Course Structure Level 4 Level 4 introduces students to the core themes of the course developing the knowledge, understanding, techniques and skills necessary to progress to higher levels. Performance will develop a number of techniques and skills through Music Performance Techniques which will link closely with Composition and Music Theory by focusing, at least in part, on using notation in a variety of situations. Performance is extended in semester two through technology specifically looking at the potential of live interaction to generate performances. The performance techniques developed in semester one will be developed through Digital Media in Music offing students an opportunity to develop an online profile. It is anticipated that performance modules will lead to a public performance at the end of each semester. Composition and Music Theory will provide the grounding for work at level two as well as supporting knowledge and understanding necessary to succeed in performance. Further knowledge and understanding will develop through music in context which will provide a broad contextual knowledge for understanding performance and production. The final component brings together many aspects through audio production techniques as well as providing the basis for future work in studio production and composition. Level 4 should be understood as a number of inter-related modules which will provide the basis for development at higher levels. For instance, performance will be developed in Music Performance Techniques and developed in Music Performance Technologies not only developing performance skills, but collaborative working techniques. The skills

5 gained will be integrated into Audio Production Techniques and Digital Media in Music. These skills will develop further at level 5 and 6. In this way, the course integrates learning on a horizontal and vertical level. Semester 1 Core Semester 2 Core (Y) (Y) Composition and Music Y Audio Production Y Theory Techniques Music Performance Y Music Performance Y Techniques Technologies Music & Digital Media Y Music in Context Y Level 5 Level 5 develops and extends many of the elements found in level 4. While Level 4 was concerned with techniques, level 5 begins to develop students as practitioners. Music performance plays a central role in the course but the module acts as an intermediate learning experience to develop the techniques explored in level 4 through live performance techniques. In part, this looks at the problems of performing in different venues and it will also provide an opportunity for performers to work with students on the BSc who are learning live sound. In this way, the course begins to encourage and develop networking and the professional skills necessary to succeed in a collaborative working environment. Studio recording techniques further develops audio production techniques but also allows students the opportunity to perform in the studio and work as session musicians as well as develop their production skills. The analysis module provides a specialist module looking at musicological techniques, literature and approach used to investigate production and technology. In part, this module will be concerned with the musical text and in this way for a useful starting point for both composition and performance project in semester two. It is anticipated that at this juncture, the students will begin to develop an individual voice in performance and composition underpinned by the music industry module which will bring into focus ideas for their final year. Semester 1 Core (Y) Semester 2 Core (Y) Live Music Performance Y Composition and Arranging Y Studio Recording Techniques Y Music Performance Project Y Music Industry Y Analysing Production and Y Performance Level 6 Level 6 begins to explore the difference between practitioners those competent in performance and production and professionals. The increasing independence gained in level 5 is further encouraged through professional project in performance and studio production. There are also modules which offer the opportunity to broaden their musical horizons. The key element of the final year is the Music Project which allows students to formulate a large scale project in areas which will become key to their professional portfolio. Students may work on live projects with an external focus or a project that develops particular strengths to a professional level. Professional standards will be

6 achieved through thorough research into the field of study and in acquiring appropriate models for reflection and measuring standards achieved. Typically, students might undertake an album of their own songs or works but may also develop skills in composition or production There is also opportunity for musicians to develop skills in interactive performance technology or to work across an interdisciplinary area with dance, performance or art. Other options may be to work on specific projects in the community or in schools or to develop research skills necessary for undertaking a more academic career path. Semester 1 Core Semester 2 Core (Y) (Y) Music performance in Y Music Performance Y practice Music for Film and TV Opt 1 Studio Production Practice Y Contemporary Arranging Opt 2 Techniques Electro-acoustic composition Opt 3 Song writing and production Opt 4 Music Independent Project (40 credits) Y 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 web site. 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. Music is often a very personal activity and informal learning often takes place outside of the University curriculum. It will be important to acknowledge this type of informal learning and to find ways to integrate student s prior experience and continuing experience while at the same time provide stimulus and challenge by presenting activities which lie outside their comfort zone. In the context of performance, for instance, this may be in the introduction of new repertoire or presenting repertoire in notated formats for someone who learns from recordings. We are committed to the following values: Inspiring

7 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 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. Music courses in general are noted for the strong relationship between staff and students as they work alongside each other in studios and in band rehearsals. This provides a strong commitment to student achievement and developing professional standards. Performances will take place at a local level using venues in the Leeds area but working towards larger venues at L5 and 6. IN this way, we would anticipate the course having a strong local impact. Learning and Teaching Activities Students on the BA Music Production and Performance should experience an active and professional learning environment based on a blend of academic and technical skill acquisition, professionally inspired creative projects and collaborative engagement. The course will be delivered through a range of lectures, tutorials, seminars, workshops and work-based activities such as live performance. Students will have the opportunity to develop skills and abilities through workshop sessions, to develop knowledge and understanding in lectures and seminars and to combine their learning experience through practical based projects. These projects will, especially towards the end of the course, combine skills, knowledge and understanding through interdisciplinary approaches which will involved many or all aspects of the course including performance, production, composition, theory and analysis and critical thinking. Workshops and practical projects will take place in the studio environment or in the public arena. Working in these environments provides an essential context through which students develop their own practice. A key component of the learning and teaching experience will be through the design of projects which provide a clear framework for progression while allowing students to develop projects which will exploit their interests and abilities to the full. Many or these activities will be staff-led projects in the first two years but the emphasis on student led practice-based research will become essential in the final year.

8 In parallel with developing specialism in music and production, there exist many opportunities to broaden and develop musical horizons through modules such as performance technology, digital media in music and the major project. Leeds provides an excellent resource for teaching and learning with opportunities for students to develop networks and projects which will enhance their learning and studies in music production and performance. Graduate Attributes (UG only) All our undergraduate students will develop three graduate attributes. Students will be: Enterprising, digitally literate and have a global outlook. A key feature for success in the music industries is the development of enterprising individuals who can respond to opportunities in creative and innovative ways. The course has a strong industry focus with dedicated modules that will explore the nature and range of the industry. Modules will reflect realistic work-based projects and highlight professional protocols. Students will have access to industry professionals through lectures and workshops. Projects in level 5 and 6 will encourage enterprise through a creative and innovative approach. Where possible, 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. Digital literacy is embedded in all areas of the course. The contemporary music industries predominately use digital means for the production, performance, storing and distribution of music. Students will gain extensive experience with a range of digital tools and develop the techniques necessary to gain a high level of mastery in key areas. 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. Digital literacy is further embedded in media/music modules where video is used along with elements web literacy. The music industries exist not only at a local and national level, but as part of an increasingly global context. The course features strong contextual threads throughout which consider the student's own professional practice within a national and global context. For instance, in media music modules, it is anticipated that the product will be uploaded to the internet and available on the international network. Awareness of this potential will be important. Through digital media and music industry modules, students will be able to engage directly with the global market through the creation of digital content. Contextually, international genres, artists and styles will be considered with an emphasis on highlighting cultural differences in the approaches and philosophies of music making.

9 Use of the Virtual Learning Environment The VLE is heavily utilised as a vehicle for summative feedback. Many assessments are submitted to 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 such as Music for Film will use audio feedback. Audio Production techniques combines written work with online testing (studio theory test) which allows testing of development and an indication of where further development is necessary. Lecture notes and presentations will be available for all modules. Formative and developmental feedback in the recording studio and laboratory environments is provided through regular tutor critique and peer critique sessions. This is a valuable part of the creative and 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. Use of Blended Learning Not applicable

10 Assessment Strategy There is strong use of industry style tasks for assessment throughout the course. Hands on recording studio 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 in relation to industry models (such as professional performers, producers, composers, or other area). Assessment is through a mix of practical tasks, technical reports, essays, phase tests and portfolio as appropriate to the particular subject area. Assessment points are staggered 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. 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 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. Live projects require careful management in terms of documenting student progress and achievement. Tutorials will ensure that students are making sufficient progress and the department has a good supply of HD video cameras to ensure that all external events can be documented. This strategy not only allows for evidencing that an event has taken place, the video material can be edited into a portfolio and used for critical reflection as part of the assessment strategy. A portfolio approach allows for the maximum of two assessment points to be maintained under the new framework while still developing a wide range of performance opportunities along with associated academic reading and reflective commentary. Feedback on Assessed Coursework The VLE is heavily utilised as a vehicle for summative feedback. Many assessments are submitted to 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 critique sessions. This is a

11 valuable part of the creative and 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. It is anticipated that the course team will develop an integrated assessment framework for each level in order to enhance the student experience by creating strong connections across the modules. Examples of this kind of practice already exist in the Performance course through synoptic assessments. One example would be where students perform in the studio and record the material. The single activity allows for two individual outcomes for performance and recording modules. This type of approach not only allows for assessing synoptically, but for developing a coherent feedback strategy where feedback used in recording can be used in performance. A further example would be a singer who developed a much better sense of microphone technique through her studio work which extended into her live performance work. Module Assessment Methods Assessment Method Mapping Module Titles Audio Production Techniques Level 4* Music Performance Techniques Level 4 Music in Context Level 4* Music and Digital Media Level 4* Composition and Music Theory Level 4* Core (Y) End Examination Phase Examination Course Assessment Y 50/ 50 Project Assignment Y Y 100 Y 30/ 70 Y Final Examination Placement Project Learning Fi Contract le Synoptic Assessment

12 Music Performance Technologies Level 4 Y Live Music Performance Level 5 Studio Recording Techniques Level 5* Analysing Production and Performance Level 5 Composition and Arranging Level 5 Music Industry Level 5* Music Performance Project Level 5 Y Y Y 100 Y 100 Y Y Studio Production Practice Level 6* Music Performance in Practice Level 6 Music Performance Level 6 Music Independent Project (extended module) Level 6* Contemporary Arranging Techniques (option) level 6* Electro-Acoustic composition (option) level 6* Music for Film and TV (option) level 6 Song Writing and Production (option) level 6* Y Y Y Y N 100 N N 100 N Employability and Professional Context Williamson and Cloonan s article, Rethinking the Music Industry (2007) draw attention to the fact that the music industry should not be considered as a unidimensional model but rather a disparate industry whose domination by a number of umbrella organisations distort our understanding of career paths, employability and the professional context. In addition to this overview, other contexts have to be considered including the idea of increasing democratisation of music production resulting in the demise of recording studios

13 and record companies, and new models of distribution through the internet. As a consequence of this and other economic processes, notions of the music industries are constantly open to interpretation and work as a number of distinct but interrelated industries directly in the field of music (live music, recording, publishing) but also in the wider fields of media, copyright, manufacturing and distribution, education promotion, public services, retail and the community. There have been various initiatives to map his complex situation by the Department for Culture, Media and Sport (DCMS) who include music within the broader category of the Creative Industries in order to estimate the type of employment available and the economic impact of the music industries. From data collected in 2010, it was estimated that Music, Visual and Performing arts numbered 305,800 people of whom over a third (136,300) were self-employed. With these figures in mind, the DCMS claims that The music industry is one of the UK s biggest and most culturally significant creative industries. It is a major contributor to the national economy [and] contributes nearly 5 billion annually to the national economy ( ). Given this background, it becomes clear that traditional career paths may not be entirely appropriate and despite the claims of some courses to provide almost instant opportunities for graduates to work as performers, recording engineers, music producers, sound designers, audio production, film and TV composers etc., the reality is that for graduates to contribute to the creative economy they will develop a number of roles combining many of these aspects in order to develop their career potential. The function of the BA in Music Production and Performance is to provide a framework for students to develop their creative potential so that they can maximise their opportunities for employment after graduation. Key elements in this are to experience a range of opportunities which will assist in promoting and developing professional protocols. In this way, the School has very good links with the music industry at a local and national level. Locally, there are a range of employment-driven initiatives including the unconference which hosted panels discussing music production, promotion, and distribution, but provided an opportunity for student bands to perform to new audiences in venues around Leeds. There are other opportunities to perform locally through the different venues which a city the size of Leeds offers and the course encourages students to make the most of these opportunities and develop supportive networks which may sustain them in the future. Nationally, we have a range of artists, managers and recording professionals who contribute to the curriculum. In addition to employability prospects, the course develops a strong practical and academic framework which will allow graduates to pursue careers in education and to undertake post-graduate study in specialist areas such as performance, composition, film music and music production. We also deal with self-employment issues including business planning.

14 With this professional context in mind, the course has developed a number of themes which are reflected in the course learning outcomes. These include: Performance Production Composition Theory and analysis Critical studies Professional practice (Williamson, J and Cloonan, M. (2007) Rethinking the Music Industry in Popular Music 26/2. Cambridge University Press. Work Related Activities There is a strong ethos on the course which encourages and develops the notion of challenging and authentic tasks. The core subjects of performance and production are developed through work related activities either in a variety of public performance situations or through practical work in the studios. In addition, students will have real-world projects in composition and arranging, digital media in music and those option modules available. Activities may include performing an end of year show or concert or performing at a social event. Through digital media in music, students will be able to develop projects which will go live where they can consider how to develop those online reputations which are important for success in networked distribution. One of the key aspects of challenging work related activities is to have, where possible, professional input on the standard of projects but also to develop strategies for reflecting on professional practice and the standards required. Through contextual modules taught on levels 4 and 5, students will be able to select works which act as professional reference points acting as aspirational goals and measures of success. Placement or Work Related Activity Level: Work related activity is situated in all levels but becoming increasingly important at level six. Performance activities will be managed by tutors in level 4 but increasingly, students will develop skills to promote their own performances at levels 5 and 6. In the same way, students work in the studio environment will be directed by tutors at level 4 but with increasing independence, students will manage the studio by level 6 in terms of recording time, bookings, and choice of artists. Work related activity will be specifically relevant to music production modules and performance. Music Performance Technologies, Music Performance Project will, for instance have specific public performance outcomes and mirror industry experience working with stage crew and mixing engineers.

15 Placement or Work Related Activity Length in Weeks: N/A Type of Placement or work related activity: Work related activity will come through live projects in performance, digital media in music and studio production. There may be opportunity for other work related activity through workshops in the community or in schools. In addition, there are opportunities for collaborative work with the film school and with dance and performance in the University. These project will be supported and guided by tutors and assessed summatively often through final performances or by completion of an end product. Reference Points used in course design and delivery (standard text provided below) 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 (FEHQ) and where 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 web site 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 Framework for Higher Education Qualifications (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.

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