Composing and Improvising - Anglia Ruskin...

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1 Faculty of Arts, Law and Social Sciences Department of Music and Performing Arts Composing and Improvising AF115003S Popular Music Pathway Academic Year: 2009-2010 Semester One

Transcript of Composing and Improvising - Anglia Ruskin...

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Faculty of Arts, Law and Social Sciences Department of Music and Performing Arts

Composing and Improvising

AF115003S

Popular Music Pathway

Academic Year: 2009-2010 Semester One

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Contents

1. Key Information ....................................................................................................................... 2 2. Introduction to the Module ....................................................................................................... 3 3. Intended Learning Outcomes .................................................................................................. 3 4. Outline Delivery ....................................................................................................................... 4

4.1. Lectures ............................................................................................................................ 4 4.2. Attendance Requirements ................................................................................................ 8 4.3. Attendance for Group and Collaborative Work ................................................................. 8

5. Assessment ............................................................................................................................. 9 5.1 Feedback ......................................................................................................................... 10

6. Assessment Criteria and Marking Standards ........................................................................ 11 6.1 Anglia Ruskin University Generic Assessment Criteria ................................................... 11 6.2 Module Specific Assessment Criteria .............................................................................. 11

7. Assessment Offences............................................................................................................ 17 8. Learning Resources .............................................................................................................. 19

8.1. Recommended Texts...................................................................................................... 19 8.2. Recommended Internet Resources ................................................................................ 19 8.3. Recommended Listening ................................................................................................ 19 8.4. Other Resources............................................................................................................. 19

9. Module Definition Form ......................................................................................................... 20 10. Report of Last Delivery of Module ....................................................................................... 22

1. Key Information Module Title: Composing and Improvising Module Code: AF115003S Module Leader: Kevin Flanagan Cambridge/Hel 255 Telephone: 0845 196 2509 Email: [email protected] Module Tutor: Chris Ingham C/o Cambridge/Hel 255 Telephone: 0845 196 2509 Email: [email protected]

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2. Introduction to the Module All music students, whether or not they consider themselves to be potential composers, can deepen their understanding of music by experiencing the processes of composition. Furthermore, in a culture in which music is very often conceived as a fixed set of symbols (notation) to be assiduously realised by performers, the notion of improvisation is a vital complementary area to foster. A direct route to tap musical intuition is explored. During the course of the module, improvisation in a variety of styles leads to a variety of compositional types and degrees of determinism, (e.g., the composer may prescribe the shape and scale of a piece of music without necessarily laying down its details; or, on the contrary, s/he may provide the detailed musical ‘cells’ which the performers may more freely develop.) The progress of each student in improvisation is monitored and assessment culminates in end-of-module prepared improvisations (group free improvisation, and solo jazz improvisation), along with a portfolio of submitted compositions.

3. Intended Learning Outcomes On successful completion of this module you will be able to: 1. Apply various methods and models of composition to their own creative work. 2. Systematically develop musical ideas in a logical and musical manner. 3. Improvise intuitively within a group. 4. Improvise melodically over simple jazz chord progressions

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4. Outline Delivery 4.1. Lectures

Topic and class content Own-time work

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INTRODUCTION Outline of module activities : Planning, Student presentations on their instruments and their uses in composition; All students are required to bring their instrument to class.

• Outline of module activities • Illustrated introduction to aspects of

song-structure, harmony, melody, arrangement in a pop/rock context

• Illustrated introduction to improvisation in pop/rock, blues, free and jazz-based styles.

• Revision workshop on the major scale, the major and minor triads

• Revise/learn (theoretically and aurally)

the major scale, major/minor triads • Prepare short presentation (2-3

minutes), an analytical appreciation of a piece of recorded music (own choice)

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COMPOSITION 1 – OSTINATI

• Student analytical appreciation presentations/discussions

• Students should be prepared to demonstrate aural/instrumental/ theoretical understanding of major scale, major/minor triads. Bring your instruments.

• Illustrated introduction to various uses of differing ostinati; riffs, grooves, chord cycles, motifs, etc.

COMPOSITION 1 – OSTINATI Write a short composition using ostinati of various types to present in the class. The piece should be no more than 3 minutes in length and should be for at least two instruments/voices. TO BE DELIVERED THURSDAY WEEK 4. The piece AND ALL ASSESSED COMPOSITIONS can be presented to the class as a live performance at the workshop/feedback stage but must be delivered for assessment as: 1) a recording on a clearly marked CDr (i.e., with name of student, module and ‘COMPOSITION 1, 2, 3 or 4’) AND 2) a score (notation) or chart/lead sheet (notated melodies/rhythms with chord symbols) OR detailed prose instructions of how the music is constructed and should be played (OR, ideally, a combination of chart and prose instructions).

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• Students and their ensemble perform

first draft of COMPOSITION 1 - OSTINATI, followed by discussion.

• Illustrated introduction to the concept of key centres, the chords I, IV and V, the 12-bar blues sequence and basic vertical (chord-based) melody-making/improvisation techniques. Bring your instruments.

• Memorise blues sequence in several

keys • Practice vertical improvisation

(Playalongs with ‘swing’ and ‘straight-8’ grooves provided)

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COMPOSITION 1 – OSTINATI to be delivered Thursday by 5pm.

• IMPROVISATION 1 (GROUP) - Introduction to the practice of Free Group improvisation, concentrating on the concept of creating various types of compositional schema over differing sonic criteria.

• Assigning groups of 4-5 players to practice group free improvisations on a weekly basis for the end of term.

• IMPROVISATION 2a (SOLO) Introduction to ‘riff’ blues theme and horizontal (in this case, minor pentatonic) improvisation. Theme, pentatonic scale and assigned pentatonic ‘licks’ (short phrases which invite repetition) to be learned by heart. In week 12, students will be expected to play their own composed ‘riff blues’ and improvise appropriately on the blues sequence.

• Memorise blues theme and basic

pentatonic licks needed for blues-style improvisation.

• Meet up with assigned group for improvisation practice weekly

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COMPOSITION 2 – SETTING A LYRIC

• Students demonstrate that they have memorised the blues material

• Illustrated introduction to the diatonic triad system (I, IIm, IIIm, IV, V, VIm, VIIdim), exploration of the effect of various two-chord and three-chord combinations, introduction to the four-chord turnaround

• Introduction to basic song structures and lyric setting

COMPOSITION 2 – SETTING A LYRIC

• Students to set an assigned lyric using only a few diatonic chords. TO BE DELIVERED THURSDAY WEEK 7.

• Continued free group improvisation practice.

• Individual improvisation practice

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• Individual COMPOSITION 2 songs to

be presented and discussed during the class.

• Free improvisation groups will perform for the class and invite discussion and commentary. Try to have some textures and structures ready. The success of this comes down to communication in the group, which is fostered by rehearsal.

• Free group improvisation practice • Honing COMPOSITION 2 in light of the

week’s performance and comment.

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COMPOSITION 2 – SETTING A LYRIC to be delivered Thursday by 5 pm

• An illustrated introduction to modes, modal melodies and modal improvisation

• Students will be introduced to and will practice scalar and arpeggiated patterns based on the dorian mode in several keys

• IMPROVISATION 2b (SOLO) • Students will be assigned an existing

song with a melody and chord sequence. The melody and sequence is to be learned by heart. In Week 12, the student will be expected to recite and interpret the melody, and improvise appropriately over part of the chord sequence.

• Begin learning material for

IMPROVISATION 2b (SOLO) • Individual modal improvisation practice • Free group improvisation practice

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• An illustrated introduction to the use

and effect of non-diatonic triads and changes of key in songwriting

• Group Improvisation practice, discussion and group critique

COMPOSITION 3 – NON-DIATONIC CHORDS/KEY CHANGES

• Compose a song with assigned or self-composed lyrics that displays understanding of song structure, key changes and non-diatonic chord options. TO BE DELIVERED THURSDAY WEEK 10.

• Individual vertical, horizontal (minor pentatonic) and modal improvisation practice

• Group improvisation practice

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• Students present first drafts of

COMPOSITION 3 for feedback and discussion.

• Workshop on IMPROVISATION 2b (SOLO)

• Hone COMPOSITION 3 in light of

comment and feedback • Individual and group weekly

improvisation practice • Learn and practice IMPROVISATION

2b (SOLO) material

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COMPOSITION 3 – NON-DIATONIC CHORDS/KEY CHANGES to be delivered Thursday by 5pm

• Illustrated introduction to common and unusual time signatures, dropped and added beats, genre-related ‘feels’ and grooves, tempo and tempo changes

• Introduction to lyric writing: styles, singable words, techniques to get lyrics rolling

COMPOSITION 4 – MUSIC AND LYRICS

• Compose a song on an assigned theme or from a suggested stimulus, with self-composed lyrics and which displays understanding of some of the harmonic and rhythmic principles, song structure and genre-related issues discussed thus far. TO BE DELIVERED THURSDAY WEEK 12.

• Group & individual improvisation practice – don’t stop now

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• Final IMPROVISATION 1 (GROUP)

presentation and review before assessment. This should be well advanced now, and students should have a series of discrete compositional schema on hand to try out

• Final review of material for IMPROVISATION 2a and 2b (SOLO) improvisation assessment next week, with mock exam run-through.

• Students to present first draft of COMPOSITION 4 for feedback and discussion

• Group and individual improvisation

practice • Hone COMPOSITION 4 in light of

feedback

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COMPOSITION 4 – MUSIC AND LYRICS to be delivered Thursday by 5pm

• IMPROVISATION 1 and IMPROVISATION 2a and 2b assessments (in class time)

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4.2. Attendance Requirements Students are expected to attend all teaching sessions on the courses for which they have registered. Practical projects, rehearsals and ensemble performances are collaborative in their nature and require full attendance. Students taking practical and performance modules should be aware that at certain times a more intensive commitment is required which must be balanced against other life and work commitments. You will be notified of these extra rehearsals as far in advance as possible. If you need to be away from classes for an extended period, it is very important that you inform your Student Adviser, and that you complete a ‘mitigating circumstances’ form. Please see the notes on ‘Attendance’ in the Anglia Ruskin Undergraduate Student Handbook for full University regulations. To be effectively prepared for a teaching session, you should:

have completed all the set reading or other prescribed work as described in the course handbook or as set by your lecturer

have your own copy of the required text or other material bring adequate writing materials for taking notes be wearing appropriate clothing, especially for rehearsals and performance workshops arrive mentally and physically prepared for the session

Attending all your classes is very important and one of the best ways to help you succeed in this module. In accordance with the Student Charter, you are expected to arrive on time and take an active part in all your timetabled classes. If you are unable to attend a class for a valid reason (e.g.: illness), please contact your Module Tutor. Anglia Ruskin will closely monitor the attendance of all students and will contact you by e-mail if you have been absent without notice for two weeks. Continued absence can result in the termination of your registration, as you will be considered to have withdrawn from your studies. International students who are non-EEA nationals and in possession of entry clearance/leave to remain as a student (student visa) are required to be in regular attendance at Anglia Ruskin. Failure to do so is considered to be a breach of the immigration regulations. Anglia Ruskin, like all British Universities, is statutorily obliged to inform the Border and Immigration Agency of the Home Office of significant unauthorised absences by any student visa holders.

4.3. Attendance for Group and Collaborative Work For modules that include collaborative practical work, especially those leading to live performance events, there is an especial necessity for full and punctual attendance. Poor attendance and/or engagement inevitably has a detrimental affect on the work of your fellow students and will hinder their achievement, as well as your own. If you are unable to attend a particular rehearsal, class or workshop you should inform your Module Leader or the Department Administrator immediately, and in advance of the class wherever possible. All members of staff have voicemail and email. You will then be entered on the register as an ‘explained absence’. Failure to do this will mean that you will be marked ‘unexplained absent’. Absence for reasons of external work commitments, timetable clashes or time mismanagement will not be accepted.

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You should be aware that poor attendance and/or lack of commitment will inevitably affect your ability to meet the module learning outcomes to a satisfactory standard, and consequently your mark may be affected.

5. Assessment [Note: Assessment information is provisional until approved by the External Examiner]. The assessment is in two parts: Portfolio of Compositions Submission Dates: Composition task 1 is handed in directly to the tutor in his tray by Thursday, Week 4 by 5pm. Composition task 2 is handed in directly to the tutor in his tray by Thursday, Week 7, by 5pm. Composition task 3 is handed in directly to the tutor in his tray by Thursday, Week 10, 5pm Composition task 3 is handed in directly to the tutor in his tray by Thursday, Week 12, 5pm Weighting: 60% The portfolio mark will comprise of assigned compositions handed in over the course of the semester. The final mark will be an aggregate mark taken from the four compositions completed during the semester. Final Performance (Improvisation) Assessment Date: In class during Week 12 (week beginning December 7th 2009) Weighting: 40% This assessment will consist of two improvisations:

- Firstly, there will be an eight-minute group performance collectively composed, rehearsed and performed by a group that has been working together over the semester. In assessing this, we will be looking for the creation of coherent, discrete, tonal and non-tonal textures that are pre-planned and demonstrate communication, both within the group and with the audience. As well as this, there should be sense of an overall narrative structure to the piece, with a beginning, middle and end. Individual contributions will be taken into consideration, as well as the overall group effort.

- Secondly, a five minute solo performance consisting of two contrasting pieces. These

will consist of:

a) a basic blues progression, for which the student will have written a riff-based head (non-improvised melody) to begin their improvisation, and:

b) an assigned existing melody (which the student will be expected to paraphrase, ornament or otherwise re-interpret) and chord sequence upon which the student will demonstrate a command of the underlying harmony by creating a personal improvisation.

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9. Module Assessment

Method Learning Outcomes

% Weighting & Fine Grade (FG) or pass/fail (PF)

Qualifying Mark see

guidance notes

Length/duration and other comments

Portfolio of compositions

1-2 FG 60% 30 4 compositions

Improvisation 3-4 FG 40% 30 2 improvisations Group 10 minutes max Stylistic 5 minutes max

In order to pass this module, students are required to achieve an overall mark of 40%.

In addition, students are required to:

(a) achieve the qualifying mark for each element of fine graded assessment as specified above

(b) pass any pass/fail elements

5.1 Feedback You are entitled to written feedback on your performance for all your assessed work. For all assessment tasks which are not examinations, this is provided by a member of academic staff completing the assignment coversheet on which your mark and feedback will relate to the achievement of the module’s intended learning outcomes and the assessment criteria you were given for the task when it was first issued. Anglia Ruskin is committed to providing you with feedback on all assessed work within 20 working days of the submission deadline or the date of an examination. This is extended to 30 days for feedback for a Major Project module (please note that working days excludes those days when Anglia Ruskin University is officially closed; e.g.: between Christmas and New Year). At the main Anglia Ruskin University campuses, each Faculty will publish details of the arrangement for the return of your assessed work (eg: a marked essay or case study etc.). Any work which is not collected by you from the Faculty within this timeframe is returned to the iCentres from where you can subsequently collect it. The iCentres retain student work for a specified period prior to its disposal. To assure ourselves that our marking processes are comparable with other universities in the UK, Anglia Ruskin provides samples of student assessed work to external examiners as a routine part of our marking processes. External examiners are experienced academic staff from other universities who scrutinise your work and provide Anglia Ruskin academic staff with feedback and advice. Many of Anglia Ruskin’s staff act as external examiners at other universities. On occasion, you will receive feedback and marks for pieces of work that you completed in the earlier stages of the module. We provide you with this feedback as part of the learning experience and to help you prepare for other assessment tasks that you have still to complete. It is important to note that, in these cases, the marks for these pieces of work are unconfirmed as the processes described above for the use of external examiners will not have been completed. This means that, potentially, marks can change, in either direction! Marks for

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modules and individual pieces of work become confirmed on the Dates for the Official Publication of Results, which can be checked at www.anglia.ac.uk/results.

6. Assessment Criteria and Marking Standards 6.1 Anglia Ruskin University Generic Assessment Criteria Please consult your student pathway handbook for details about Anglia Ruskin’s generic assessment criteria and policy. This information can also be found under the Student section of ANET.

6.2 Module Specific Assessment Criteria In addition to Anglia Ruskin’s generic assessment criteria, your work will also be marked against module-specific assessment criteria. Assessment tasks for this module will be marked against the marking criteria for Artefact Creation and Live Performance, which are available under the ‘Student Resources’ section of the departmental web site at: www.anglia.ac.uk/mpa. Artefact Creation First Class [80%-100%] Upper first-class work is characterised by an outstanding degree of independent research and distinctive originality. Work of this standard is in full command of its topic and capable of overturning orthodox positions or received opinion with strikingly new analyses or innovative creation. Upper first-class work is rare and exceptional; it will be a sustained demonstration of intellectual rigour, technical excellence, creative and imaginative flair and the highest standards of achievement and research proper to the field of study. Work at this level is exceptional and displays consistent deployment of all qualities discussed here. The work is comparable to existing exemplars of the repertoire or displays outstanding originality. Work of this standard far exceeds module learning outcomes and will display some or all of the following characteristics:

• Creative work that negotiates the course requirements with exceptional and consistent imagination and intelligence.

• Confident and consistent development and deployment of creative strategies to produce innovative, stimulating and engaging work.

• Impeccable organisation of the portfolio of work. • Mastery of appropriate technical resources. • Clear and well-articulated conceptual frameworks. • A broad understanding of current techniques, theory and context. • Sustained and critical self-evaluation.

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First Class [70%-79%] First-class work is characterised by independent learning and freshness of approach. Work of this standard fully explores the topic and is not afraid to challenge orthodox positions or received opinion where relevant. First-class work is outstanding and displays a selection or combination of the qualities of intellectual rigour, technical excellence, creative and imaginative flair and very high standards of achievement and research proper to the field of study. Work at this level displays a sophisticated level of engagement with the material and substantial attainment and expansion of pathway and module learning outcomes. Work at this level will display some or all of the following characteristics:

• Creative work that consistently negotiates the course requirements with imagination and intelligence.

• Sustained development and deployment of creative strategies to produce innovative, stimulating and engaging work.

• Careful and cogent organisation of the portfolio of work. • Informed, confident and imaginative application of appropriate technical resources. • Clear and well-articulated conceptual frameworks. • A broad understanding of current techniques, theory and context. • Sustained and critical self-evaluation.

_________________________________________________________________________ Upper Second Class [60%-69%] Work in this class demonstrates some of the qualities that define First Class work but not in as sustained a manner. An Upper Second Class mark denotes very good work, but it is not intellectually, practically or creatively outstanding. A criterion often used to distinguish Upper Second from Lower Second work is the quality and extent of detailed attention to the primary works studied on the module. An abstract or generalised piece of work must be of very high quality to gain an Upper Second mark. Work at this level will display clear engagement with course aims and substantial attainment of learning outcomes and will display some or all of the following characteristics:

• Strong musical creation techniques systematically deployed. • Clear, accurate and sustained address to the given or self imposed musical brief. • A good, knowledgeable use of musically creative techniques. • A respectable command of relevant theory and context.

_________________________________________________________________________ Lower Second Class [50%-59%] Work in this class is of average to good, and not merely passing, Honours standard. Work at this level will display acceptable engagement with course aims and satisfactory attainment of learning outcomes, and will display some or all of the following characteristics:

• A reasonable, but sometimes inconsistent, demonstration of analytical and musically creative approaches, but of a less developed and enquiring standard than work of an Upper-second Class standard.

• A cogent approach to the brief, but probably missing some key elements.

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• The musically creative work is not fully realised. The work often depends rather heavily on imitation of known exemplars or class demonstrations.

• A satisfactory command of relevant theory and context. _________________________________________________________________________

Third Class [40%-49%] Although weak, Third Class work is of passing Honours standard and should not be confused with failed work. There is little engagement with course aims and limited attainment of learning outcomes. Work at this level will display some, or all, of the characteristics listed here.

• Limited power of musical analysis and awareness of musical structure. • An inconsistent focus on the topic. • An evasive, or poorly directed, response to the brief, i.e. a piece of creative work is

submitted which does not apply directly to the concepts explained but responds rather to the student’s technical limitation.

• The work is under-developed and often shows significant reliance on known examples and class demonstrations.

• An ill-considered and repetitious use of similar creative ideas. • A limited understanding of the musical brief with little detailed reference to it. • A marginal command of relevant theory and context.

_________________________________________________________________________ Fail [30%-39%] Although inadequate at degree level, work within the mark range of 30%-39% qualifies as a marginal Fail. Wok at this level displays little or no engagement with course aims and failure to attain most learning outcomes. The 30%-39% range is used carefully to indicate the extent of the failure and the work’s closeness to being of passing quality. In some circumstances, compensation rules may apply (i.e. resubmission of work or retaking the module may not be obligatory). Failed work at this level will show some, or all, of the weaknesses listed here.

• Feeble musical content. • A lack of focus on the given creative brief. • A failure to create acceptably in response to the given brief. • Very limited musical concept; the work contains severe musical inconsistencies. • An ineffective use of practical and/or technical procedures that results in media that

may not function or be able to be realised properly _________________________________________________________________________

Fail [0%-29%] Work within the range 0%-29% is very weak and clearly fails to reach degree standard. Typically, course aims are ignored and no attempt is made to attain any learning outcomes A mark of 0% will usually denote a failure to submit work at all. Work within this range cannot be compensated. Depending on individual circumstances and the requirements of the module, failed work at this level must either be resubmitted or the module retaken. Failed work at this level will show some, or all, of the serious weaknesses listed here.

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• Little or no musical content. • Little or no focus on the given creative brief. • No musical concept; the work contains severe musical inconsistencies. • A negligible use of practical and/or technical procedures that results in media in

cannot function or be able to be realised properly _________________________________________________________________________

Live Performance First Class [80%-100%] Upper first-class work is characterised by an outstanding degree of independent research and distinctive originality. Work of this standard is in full command of its topic and capable of overturning orthodox positions or received opinion with strikingly new analyses or innovative creation. Upper first-class work is rare and exceptional; it will be a sustained demonstration of intellectual rigour, technical excellence, creative and imaginative flair and the highest standards of achievement and research proper to the field of study. Work at this level is exceptional and displays consistent deployment of all qualities discussed here. The work is comparable to existing exemplars of the repertoire or displays outstanding originality. Work of this standard far exceeds module learning outcomes and will display some or all of the following characteristics:

• Outstanding project/performance work that displays exceptional levels of creativity, technical proficiency, imagination, intelligence, and originality

• Independent and expert development of innovative research and/or rehearsal strategies in order to communicate meaning in performance

• A commanding understanding of style, context, form and interpretation evident in practical work produced

• Expert and innovative deployment of resources to create an exceptionally original and stimulating piece of performance of professional standard

• In group work, an essential and unique contribution to collaborative process, while displaying great sensitivity to the wider group creative and technical processes

• Exemplary observation of all deadlines and demonstration of the highest level of professional discipline

_________________________________________________________________________ First Class [70%-79%] First-class work is characterised by independent learning and freshness of approach. Work of this standard fully explores the topic and is not afraid to challenge orthodox positions or received opinion where relevant. First-class work is outstanding and displays a selection or combination of the qualities of intellectual rigour, technical excellence, creative and imaginative flair and very high standards of achievement and research proper to the field of study. Work at this level displays a sophisticated level of engagement with the material and substantial attainment and expansion of pathway and module learning outcomes. Work at this level will display some or all of the following characteristics:

• Excellent project/performance work that consistently displays advanced levels of creativity, technical proficiency, imagination, intelligence, and originality

• Confident development of appropriate research and / or rehearsal strategies in order to communicate meaning in performance

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• A deep understanding of style, context, form and interpretation evident in practical work produced

• Advanced deployment of resources to create an innovative, stimulating and engaging piece of performance

• In group work, a major contribution to collaborative process with sensitivity to the wider group creative and technical processes

• Conscientious observation of all deadlines and a high level of professional discipline. _________________________________________________________________________

Upper Second Class [60%-69%] Work in this class demonstrates some of the qualities that define First Class work but not in as sustained a manner. An Upper Second Class mark denotes very good work, but it is not intellectually, practically or creatively outstanding. A criterion often used to distinguish Upper Second from Lower Second work is the quality and extent of detailed attention to the primary works studied on the module. An abstract or generalised piece of work must be of very high quality to gain an Upper Second mark. Work at this level will display clear engagement with course aims and substantial attainment of learning outcomes and will display some or all of the following characteristics:

• Good project/performance work that displays sound levels of creativity, technical proficiency, imagination and intelligence

• Development of suitable research and/or rehearsal strategies in order to communicate meaning in performance

• A good understanding of style, context, form and interpretation evident in practical work produced

• Appropriate and fully competent deployment of resources to create an engaging piece of performance

• In group work, a sound contribution to collaborative process and proper acknowledgement of wider group creative and technical processes

• Observation of all main deadlines and a good level of professional discipline. _________________________________________________________________________

Lower Second Class [50%-59%] Work in this class is of average to good, and not merely passing, Honours standard. Work at this level will display acceptable engagement with course aims and satisfactory attainment of learning outcomes, and will display some or all of the following characteristics:

• Satisfactory project/performance work that displays an adequate level of performance skills

• Development of some standard research and/or rehearsal strategies in order to communicate meaning in performance

• Satisfactory understanding of style, context, form and interpretation evident in practical work produced

• Adequate and mainly competent deployment of resources in the creation of a satisfactory piece of performance

• In group work, a equitable contribution to collaborative process and awareness of wider group creative and technical processes

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• Satisfactory observation of most deadlines and an adequate level of professional discipline.

_________________________________________________________________________ Third Class [40%-49%] Although weak, Third Class work is of passing Honours standard and should not be confused with failed work. There is little engagement with course aims and limited attainment of learning outcomes. Work at this level will display some, or all, of the characteristics listed here.

• Undeveloped project/ performance work that displays limited performance skills • Limited development of the research and/or rehearsal strategies necessary to

communicate meaning in performance • Incomplete and/or inconsistent understanding of style, context, form and interpretation

evident in practical work produced • Limited, derivative and/or less than competent deployment of restricted resources, that

contribute little to the performance • In group work, a diminished contribution to collaborative process and limited awareness

of wider group creative and technical processes • Some deadlines missed and sometimes unreliable in engagement, concentration and/or

discipline. _________________________________________________________________________

Fail [30%-39%] Although inadequate at degree level, work within the mark range of 30%-39% qualifies as a marginal Fail. Wok at this level displays little or no engagement with course aims and failure to attain most learning outcomes. The 30%-39% range is used carefully to indicate the extent of the failure and the work’s closeness to being of passing quality. In some circumstances, compensation rules may apply (i.e. resubmission of work or retaking the module may not be obligatory).

• Failed work at this level will show some, or all, of the weaknesses listed here. • Weak project/performance work that falls short of negotiating the course requirements

adequately • Very little awareness of the research and/or rehearsal strategies necessary to create

and communicate meaning in performance • Negligible understanding of style, context, form or interpretation evident in practical work

produced • Inappropriate deployment of resources, showing very little understanding of

performance practices or competence in technical processes • In group work, a very weak contribution to collaborative process and insensitivity to

wider group creative and technical processes • Deadlines missed and frequent unreliability in attendance and/or engagement.

_________________________________________________________________________ Fail [0%-29%] Work within the range 0%-29% is very weak and clearly fails to reach degree standard. Typically, course aims are ignored and no attempt is made to attain any learning outcomes A mark of 0% will usually denote a failure to submit work at all. Work within this range cannot be compensated. Depending on individual circumstances and the requirements of the module,

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failed work at this level must either be resubmitted or the module retaken. Failed work at this level will show some, or all, of the serious weaknesses listed here.

• Poor and/or incompetent project/performance work that shows no evidence of engaging with the course requirements

• No awareness of the research and/or rehearsal strategies necessary to create and communicate meaning in performance

• No understanding of style, context, form or interpretation evident in practical work produced

• Blundering deployment of resources, showing no understanding of performance practices or competence in technical processes.

• In group work, a negligible contribution to collaborative process and disregard of wider group creative and technical processes

• Consistent indifference to deadlines, perfunctory attendance and/or engagement. Undisciplined and unprofessional.

7. Assessment Offences You are reminded that any work that you submit must be your own. All suspected assessment offences will be investigated and can result in severe penalties. Please note that it is your responsibility to consult the relevant sections of the Academic Regulations (section 10 – see www.anglia.ac.uk/academicregs) and the Student Handbook. When you are preparing your work for submission, it is important that you understand the various academic conventions that you are expected to follow in order to make sure that you do not leave yourself open to accusations of plagiarism (eg: the correct use of referencing, citations, footnotes etc.) and that your work maintains its academic integrity. Plagiarism is theft and constitutes the presentation of another’s work as your own in order to gain an unfair advantage. You will receive advice and guidance on how to avoid plagiarism and other elements of poor academic practice during the early stages of your studies at Anglia Ruskin. A Guide to Academic Integrity and Good Academic Practice

A primary purpose of a University education is to instil in each student an understanding of, and a capacity for scholarship, independent judgment, academic rigour, and intellectual honesty.

It is the joint responsibility of university teachers, support staff and students to work together to foster these ends through relationships which encourage freedom of inquiry, demonstrate personal and professional integrity, and foster mutual respect.

Good academic practice refers to the process of completing your academic work independently, honestly and in an appropriate academic style, using good referencing and acknowledging all of your sources.

To demonstrate good academic practice you must:

• develop your own independent evaluation of academic issues;

• draw upon research from academics in your field of study;

• discuss and evaluate existing concepts and theories;

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• demonstrate your understanding of the key literature;

• develop your own arguments.

To support your own good academic practice you will need to develop:

• study and information skills (eg. reading, note-taking, research etc);

• skills of critical enquiry and evaluation (eg. taking a balanced opinion, using reasoning and argument);

• appropriate academic writing skills (eg. for essays, reports, dissertations etc);

• referencing skills;

• examination techniques (eg. preparation and timing etc).

Achieving good academic practice is not as complicated as it may appear. In a nutshell, you need to:

• know the rules;

• make sure you reference all sources.

Poor academic practice or academic dishonesty (plagiarism, cheating, fraud etc.) is sometimes caused by insecurity as to what is expected and what is allowed. If you are in any doubt you should talk to a librarian and/or your module or personal tutor. Our Expectations of Students The Student Charter (http://web.anglia.ac.uk/anet/students/pdfs/ 11473_Charter_16ppA5.pdf) requires you to ‘be aware of the academic rules relating to your studies’, p9). We expect you to agree that you will:

i) ensure that you are familiar with the academic conventions regarding the citing (acknowledgement, referencing) of the work of others (see, for assistance, http://libweb.anglia.ac.uk/referencing/referencing.htm);

ii) only hand in your own original work for assessment;

iii) correctly reference all the sources for the information you have included in your work;

iv) identify information you have downloaded from the internet;

v) never use another student’s work as if it were your own work;

vi) never use someone else’s artwork, pictures or graphics (including graphs, spreadsheets etc. and information from the internet) as if they were made by you;

vii) never let other students use or copy from your work;

viii) work through ‘PILOT’, the online tutorial available on the University library website (http://libweb.anglia.ac.uk/pilot/). PILOT addresses a number of study skills which will help you develop good academic practice.

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8. Learning Resources 8.1. Recommended Texts These will be related scores and recordings relevant to the projects being pursued over the course of the module, which will be assigned as needed and found in the library. Students are encouraged to do as much investigative listening and score-study as possible using the resources of the library.

8.2. Recommended Internet Resources http://www.spotify.com sign up to this, we will be using this as a resource for all our listening

Grove on-line. This has to accessed through the University Library; we will discuss how to do this in class

http://www.bbc.co.uk/radio3/newmusic/ : the most excellent Beeb new music re-broadcast archives.

http://musicmavericks.publicradio.org the equivalent American New Music Broadcasts

http://www.cnvill.demon.co.uk/mfhome.htm Morton Feldman page

http://earbox.com/inter-machine.html John Adams homepage

http://artofthestates.org/ New Music clips

http://www.johncage.info like it says on the tin.

http://www.lcdf.org/indeterminacy/ Cage stories

http://www.stevereich.com/ again, you can probably guess….

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=76783777 and, at 70, you’re never too old for your own Myspace page, as Reich shows.

http://www.keepingscore.org/ : Fairly amazing San Francisco Symphony website, overseen by Michael Tilson Thomas – lots and lots of interactive features.

All of these sites provide extensive play-back libraries of New Music and contemporary jazz, which should be explored at length.

8.3. Recommended Listening These will be assigned in class drawing upon resources in the library, along with weekly listening sessions in class with discussion. It is further hoped that students will explore further any composers mentioned in class.

8.4. Other Resources It is recommended that students attend local gigs, take part in open-mic nights and generally become an engaged and enquiring member of the local music community.

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9. Module Definition Form

Module Definition Form (MDF)

1. Module Title: maximum 100 characters Composing and Improvising

2a. Module Leader: 2b. Department: 2c. Faculty:

Kevin Flanagan Music and Performing Arts Arts, Law and Social Sciences

3a. Level: see guidance notes 3b. Module Type: see guidance notes

1 Standard

4a. Credits: see guidance notes 4b. Study Hours: see guidance notes

15 150

5. Restrictions

Pre-requisites: Appropriate levels of musical literacy. Appropriate levels of instrumental or vocal musical ability.

Co-requisites: None

Exclusions: None

Pathways to which this module is restricted:

None

LEARNING, TEACHING AND ASSESSMENT INFORMATION

6a. Module Description: 200 – 300 words All music students, whether or not they consider themselves to be potential composers, can deepen their understanding of music by experiencing the processes of composition. Furthermore, the notion of improvisation – ‘real-time’ composition - is a vital complementary area to foster and, in this respect, a direct route to tap musical intuition is explored. During the course of the module, composition and improvisation cross-fertilise each other, and understanding and development is gained through the examination and exploration of a range of different techniques and compositional styles. The progress of each student in improvisation is monitored and assessment culminates in end-of-module prepared improvisations (group free improvisation, and solo stylistically-informed improvisations), along with a portfolio of submitted compositions. 6b. Outline Content: • Empirical exploration of a number of musical forms, e.g., variations, ostinato, dissonant

counterpoint, pre-determined composition, etc. • Practical workshops in the development of songwriting techniques • Guided composition projects. • Practical exercises in intuitive music making. • Group improvisation sessions. • Workshops in the language of stylistic improvisation. • Practical sessions in solo stylistic improvisation.

Module Code: AF115003S Version: 2 Date amended: 23.03.09

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6c. Key Texts/Literature: Provided by module tutor. 6d. Specialist Learning Resources: Music manuscript paper or suitable notational software. Musical instrument (where applicable).

7. Learning Outcomes (threshold standards):

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

Knowledge and understanding

1. apply various methods and models of composition and improvisation to their own creative work.

2. systematically develop musical ideas in a logical and musical manner.

Intellectual, practical, affective and transferable skills

3. improvise intuitively within a group. 4. improvise melodically over simple chord progressions.

8. Learning Activities

Learning Activities Hours Learning Outcomes

Details of duration, frequency and other comments

Lectures: 11 Other teacher managed

learning: 24 All 1 hour lecture and 2 hour workshop each

week

Student managed learning: 115 All Own time composition work. Group improvisation rehearsal sessions. Own

time solo improvisation sessions TOTAL 150

9. Module Assessment

Method Learning Outcomes

% Weighting & Fine Grade (FG) or pass/fail (PF)

Qualifying Mark see

guidance notes

Length/duration and other comments

Portfolio of compositions

1-2 FG 60% 30 4 compositions

Improvisation 3-4 FG 40% 30 2 improvisations Group 10 minutes max Stylistic 5 minutes max

In order to pass this module, students are required to achieve an overall mark of 40%.

In addition, students are required to: (a) achieve the qualifying mark for each element of fine graded assessment as specified above (b) pass any pass/fail elements

OTHER TECHNICAL DETAILS

10. Delivery of the Module Please delete as appropriate Delivery This module is delivered over… Yes or No? Indicate which by deleting as appropriate

6 …multiple delivery patterns Y Semester 1 or Semester 2

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10. Report of Last Delivery of Module

MODULE REPORT FORM

Module Code and Title: AF115003S Composing and Improvising Anglia Ruskin Department: Music and Performing Arts Location of Delivery: Cambridge Academic Year: 2008-09 Semester: One Enrolment Numbers: 21 Module Leader & Tutor: Kevin Flanagan Student Achievement The overall mean mark for this module was 51.8% (A = 0, B = 5, C = 11, D = 2, Deferred = 3) The marks were about average this year’s delivery, with a number of students expressing an interest in exploring either contemporary composition or jazz. A significant feature this year was the enrolment of a number of third-year CMT students. They helped to motivate the more inhibited first-year students but were likewise placed outside their personal comfort zones by having to deal with notated instrumental composition. Feedback from Students This module achieved an overall student satisfaction rating of 71%. The feedback sheets were very positive with students commenting on the challenges to their previous ways of thinking about music. A few students expressed a desire for more traditional models for pre-20th century compositional techniques, although this is somewhat outside of the remit of this module in its present form. There was also a call for more focus on aspects of the jazz content, plus repeated requests for more access to percussion for the improvisation workshops. Module Leader/Tutor’s Reflection on Delivery of the Module, including Response to Feedback from Students I completely understand the frustration of the students who wanted to further explore the more traditional compositional styles, but this is to somewhat misunderstand the nature of the module, which is to introduce a number of conceptual overviews that the students might have been unfamiliar with and will challenge some of their previously held assumptions. Developments during the current year or planned for next year There will be a general review of the content and aims of this module, with any revisions deemed necessary carried out over the summer. External Examiner’s Comments N/A for Level 1 modules