Mul 352 Movement and Gesture

MUSIC DEPARTMENT

MUL352 Communicating music through movement and gesture (possunt quia posse videntur)

MODULE BOOKLET

COURSE CO-ORDINATOR: Ben Hall

SEMESTER 1, 2013-2014

Monday 10.00 a.m-12.00

MB1/MB5

Module Title: Communicating music through movement and gesture

Code: MUL352

Credits: 15

Level: Six

Home: Music department

Programmes: BA Hons Music, Free Choice Module

Module co-ordinator: Ben Hall

Entry Requirements: None; available as a free choice module by permission of the module co-

ordinator

Aims

The musician expects to be a performer for much of the time, but rarely attributes to the success of a

musical performance the extra-musical attributes of physical confidence, expressive body language

and communicative movement. This course is intended as a complement for Performance Skills,

allowing the student to develop skills in the physical projection of musical expression which will

prove invaluable in supporting their performance practice.

The ideas and concepts, and the inherited behavioural codes which lie behind our instinctive

interpretation of movement and gesture are important too, and the course aims to couple the

acquisition of practical skills with an understanding of their social origins.

Learning outcomes

At the conclusion of this module, students will be able to acquire a confident awareness of and ability

to articulate:

Effective physical gesture in musical performance

Strategies for projecting musical ideas

Narrative expressed through movement

in addition, students will be able to identify:

Strengths and weaknesses in platform manner

the role of physical movement in communicating music

semiotic analysis in the deployment of gesture

Key Skills

skills in teamwork, negotiation, organisation and decision-making

identifying problems and presenting solutions

presenting and evaluating imaginative material

Indicative Module Content:

This course will explore the opportunities that exist for enhanced communication within the formal

performance context, using the performers own physical projection of self and personal narrative of

intention. Work will also be developed in a broader context, allowing a deeper understanding of the

semiotics of movement the kinesic variables which impact upon the viewer and the generic codes

which attach to the music they play.

Learning Strategy:

Workshop learning will be the primary mode in this course, with students working in small groups, in

pairs and as a company to explore ideas and strategies of communication. Students will make use of

video recording to analyse their own work and the work of peers, and practical sessions will be

supported by seminar discussion and by individual tutorials.

Mode of Assessment:

Formative:

Students will be asked to produce a short ensemble piece which reflects narrative material relevant

to an aspect of their musical practice, and which may or may not include music itself. Marking of this

work will not contribute to the final assessment grade.

Summative:

An individual or accompanied musical performance, focusing on the extra-musical communication of

musical material (7-9 mins, 2500 word equivalent)

And

A short analysis of all or part of this material (1000 words)

Resubmission Details

An individual or accompanied musical performance, focusing on the extra-musical communication of

musical material (7-9 mins, 2500 word equivalent)

And

A short discussion with the assessor, focusing on all or part of this material (1000 words)

Assessment Criteria

Students will be assessed on their ability to:

confidently articulate mood and emotion through physical movement

demonstrate a fluent familiarity with a simple gestural vocabulary

provide evidence of critical self-awareness

make skilful use of relevant musical and musicological quotation

produce a good level of presentation and written style

provide good footnotes and bibliography

Indicative Reading

Citron, M. J.(1993) Gender and the Musical Canon. Cambridge University Press

Hatten, Robert S: Interpreting musical gestures, topics, and tropes : Mozart, Beethoven,

Schubert Indiana University Press, c2004

Kopiez, R & Auhagen, W(Eds.) Controlling Creative Processes In Music Lang 1998 McClary, S.(1991) Feminine endings: Music, gender, and sexuality. University of Minnesota

Press

Ryan, Marie-Laure: Narrative across media : the languages of storytelling University of

Nebraska Press, 2004

Module Overview

Session Number

Date Session

1 9th Sept How to understand this module (The idea of Process) (All tutors)

2 16th Sept Dialogue, Development and the relationship between body and mind in performance

Student-led Seminar

3 23rd Sept Induction Week no taught session

4 30th Sept Student-led Seminar Dialogue, Development and the relationship between body and mind in performance

5 7th Oct Exploring Neutrality Student-led Seminar

6 14th Oct Student-led Seminar Exploring Neutrality

7 21st Oct The Watched performer Student-led Seminar

8 28th Oct 1st Nov

Reading Week

9 4th Nov Student-led Seminar The Watched performer

10 11th Nov Abstraction within the musical performance space

Student-led Seminar

11 18th Nov Student-led Seminar Abstraction within the musical performance space

12 25th Nov Tutorials

13 2nd Dec Review Week Assessment Preparation no taught session

14 9th Dec Practical Assessment (all day 9-4 MB5) HAND IN OF 1000 WORD ESSAY BY 2PM

15 16th Dec Practical Assessment (all day 9-6 MB5)

Please check Music News tab on Portia in November for exact timings for the practical summative

assessments on 9th and 16th December 2013

The Application sessions marked Student-led Seminar will be facilitated by Ben Hall

The Theme sessions marked in bold will be facilitated by Abi Mortimer

Notes:

All information regarding this module will be communicated via the Moodle pages on Portia and the

department notice boards. Please refer to these pages regularly.

For help on essay techniques and other issues regarding assessments, please see module tutors in

good time before the examination. Alternatively, the Academic Skills Advisor is based in the Learning

Resource Centre on each campus. Appointments can be booked through the SIZ desk in the LRC or

by ringing 01243 816222. Tutorials can be arranged on a one-to-one basis and can cover subjects

such as: organization and time management skills, essay structuring techniques, improving

grammar, punctuation and spelling, referencing, reading techniques, proof reading, note-taking,

examination/revision techniques, communication skills, mind-mapping and critical thinking skills.

Please bring this handbook with you to all sessions as it contains information that will be referred to

during lectures and workshops.

Students will be required to complete tasks set by the course tutors. This work will include both

individual and group work. See the appropriate box in each lecture outline. Tutorials are available

with Ben Hall throughout the semester whenever his diary permits but please ensure that you book

these well in advance particularly in the last few weeks of the semester when his diary can become

quite full.

Module explanation / helpful notes:

The sessions listed as student led seminars show which weeks you are expected to perform a

prepared piece this can be a fragment of a piece, rather than an entire piece. Everyone is expected

to prepare a performance for these sessions although due to class size, it may not be possible to hear

everybodys work each session. This gives you a chance to build on your experience, and to

potentially build into your performance ideas which you have picked up from another member of the

group. Everyone should attend all sessions, whether or not they are performing. We would

encourage you to film your performances so that you may reflect and build upon the advice given to

you.

The sessions listed as Theme sessions are content driven and introduce you to a range of concepts

and problems that we want you to consider throughout the duration of the course. We will be

exploring the relationship between thinking about performance and doing it with the aim to

encourage you to become more aware of what you are doing during your performance activities.

Especially exciting, is the expertise of a dance specialist who will be helping you identify the key

movements you make without potentially realising it.

Aims of the module

If you are taking this module you will be a performance focused student, which means that a larger

part of your time and effort, as well as your degree outcome, will depend on your being able to

perform well. For some people this is a happy experience, particularly if they have lots of

opportunities to perform for live audiences but for many musicians performance remains a bit of a

mystery, and something to be slightly dreaded.

This module is focused on the business of performance itself, often the parts that dont directly

involve technical playing or vocal skill, but which have to do with the way we present ourselves and

the music to listeners. Someone who does this advisedly, and with confidence, will seem and

probably actually be a better player or singer. So we have a lot to gain by thinking about

performance itself

So at one, very important level, this module is about finding ways to perform more successfully. At

another level, it is about knowing how you are doing this, and being able to take control of the

construction of the performance through knowing something relevant about the music you are

offering. This reflects the learning outcomes, which state that you will have a confident awareness of

and ability to articulate:

Effective physical gesture in musical performance

Strategies for projecting musical ideas

Narrative expressed through movement

So you can do it, and you know how you are doing it, and can explain this.

Module Content

The same issues are likely to come up again and again with different student performers, and

exploring these themes will develop a familiarity with the ideas and practices they involve. These are

just a few examples:

Stance

What you convey to listener/viewers by the way you stand or sit, and how this relates to the music you are working with

Role

Who you change into when you are performing, and at which point and how this change

ought to be made

Narrative

Exploring what the music is saying to us, and finding effective ways to work with this

Ensemble

When we are performing with others (which you can do if you wish), how we use the

relationships between performers to advantage

Gaze

A big one, this. Where to look when performing, and how and when to look at the audience.

And, of course, there are many, many more.

Learning Strategy explained

By watching others perform we can learn a surprising amount, and the workshop mode which this

module adopts makes this a big part of the experience. Youll be encouraged to use the material you

plan to offer for performance assessment when performing for this module the most immediate

way in which you can benefit might therefore be a better outcome for your performance

dissertation.

Youre encouraged to take notes obsessively when other people are performing, and these will prove

very useful indeed when you come to write your commentary. Youll also be encouraged to offer

analysis and criticism to other performers, and to develop the ability to reassure and strengthen the

performer (and never to undermine them) while doing so.

The Assessment explained

As with all modules, this one has a formative (mid-point) assessment, which is intended to help you

move in the right direction for a strong result in the summative (end of module) assessment. This is

designed as a group presentation, partly so that you can enjoy the benefits of working with, and

crucially discussing with others, the ideas which you have decided to focus on. Most people will

involve an actual musical performance in this, but you dont have to the point is to focus on the

ideas you have about gesture, narrative, and the relationship you have with listener/viewers.

The marks are awarded entirely for the summative final assessment, and there are two parts to this:

1. An individual or accompanied musical performance, focusing on the extra-musical communication of musical material (7-9 mins, 2500 word equivalent)

So it is a performance but you arent going to be marked for your technical or expressive skill in

playing/singing the notes. Its the extra-musical communication which is assessed, meaning the way

you perform outside the notes, using your whole body.

2. A short analysis of all or part of this material (1000 words)

This is submitted before you perform, so you have to know what will happen in advance, and to

describe and explain it here.

Session 1: How to understand this module (The idea of Process) 09.9.13

Preparation: Watch video footage of your favourite performer. What is it that makes their

performance engaging? Make notes and bring to the session

Aims:

By the end of this session students should:

Understand and be aware of the module content; Have been introduced to the concepts and teaching methods being used throughout the module Start to discuss the critical issues involved with the relationship between product and process

Content:

This first lecture will provide an overview of the module aims, content and assessments and also how

the course will be delivered, explaining the two teaching methods in place. The entire class will be

taught together in MB1.

Through todays session tutors will be exploring:

-Accept and Reject

- Codes and Criteria

- Technique Vs Experimentation

- What makes a performance (technique vs performance)

-Ways of seeing

- The student as responsible for their own learning.

Weekly Task:

Work on the performance task given in the session ready to take part in next weeks session.

Written Task: Each week you will be asked to write a commentary on the performance work you have

prepared. Please bring this to the following session.

Session 2/4 Dialogue, Development and the relationship between body and mind in performance / Student

led seminar 16.9./30.9.13

Preparation: Ensure you know which group you are in for the remaining sessions. Ensure that you have completed the weekly

task (see previous session)

Aims:

By the end of the session, students should:

Start to understand the issues in the relationship between mind and body in performance

Become aware of their physical positionality in the music.

Have had a chance to apply these issues and concepts in a musical performance

Content:

Each week the class is split into two: One group will be doing the Theme session and the other will be performing in the

student led seminar.

This session brings awareness to preparation and gaining control over the body and the performance space:

- A focus on the introduction and consciousness of controlling the performance environment.

- What is the performance space and how do I set it up?

- Music and performance- The Relationship. Where do I stop and the music begin?

- Practising the introduction with an awareness of time and presence in each moment.

- I am going to.... I am doing ..... I have done. Practice in pairs- analysis and practice for the whole group.

- Relationship between body/space/performance

- Muscularity and its relationship to breath and performance. Yogic Breathing

- Spatial sensitivity and empathy- In toning.

Weekly Task:


Written Task: Each week you will be asked to write a commentary on the performance work you have prepared. Please bring

this to the following session.

Session 3 Induction Week 23.9.13

No taught session this week. Use the time to explore areas of interest in preparation for you formative submission.

Session 5/6 Exploring Neutrality/Student-led seminar 7/14.10.13


task (see previous session).

Aims:


Start to critique the notion of neautrality in regards to their own performance identity

Understand how neutrality can affect the bodys narrative within performance.


Content:

Neutrality is one of the key concepts to a performance is it achievable and what happens to our understanding when we

attempt to achieve it?

- Seeing The Sea....

- Analysis of habitual patterns.

- letting go of self to reveal the true meaning in the work.

Weekly Task:




Session 7/9 The Watched Performer /Student-led seminar 21.10/4.11.13



Aims:


Start to critique how gestural vocabulary is interpreted by those watching a performance

Exploring intimate and expansive performance spaces and the impact on the watched performer


Content:

The Watched performer is an important concept to explore for any musician and to become skilled in understanding the

relationship between performer and those watching can be helpful in understanding the way in which gestural narratives are

read and received.

- Witnessing a performance

- Practical work in pairs with a focus on performing a personal work in an intimate space.

- Awareness of process and collaboration as a means to form clear choreographic decisions and direction. Bringing

consciousness of the body in performance to the forefront of the mind.

Weekly Task:




N.b 28Oct-1Nov - (session 8) Student directed learning week.

No taught session. Use this time to start preparing the work for your summative assessment if you have not already done so.

Session 10/11 Abstraction in the musical performance space/Student-led seminar 11/18.11.13



Aims:


Start to understand what abstraction is and how this relates to musical performance

Critiqued their own use or non-use of abstraction


Content:

This final theme explores notions of abstraction in performance and the relationship between this and gestural narrative.

- Feeling states as different from emotions. Connecting and engaging with the art from within and with control.

- Where to situate the right level of abstraction.

Weekly Task:




Session 12 Individual tutorials 25.11.13

Tutors will be available for tutorials if required. Otherwise please use this time to prepare your summative assessment.

Session 13 Review Week assessment preparation 2.12.13

No taught session. You should use this week to finalise your summative assessment

Session 14/5 Summative Assessment 9/16.12.13

Please check Music News tab on Portia in November for exact timings for the practical summative assessments on 10th and

17th December 2012 and please note that the 1000 word analysis must be handed into the Music Assessment Box by 2pm

on 9th December even if the performance element of your assessment is not until the following week.

Assignment Submission Procedure

In the light of increasing incidences of academic malpractice, UoC uses the electronic plagiarism detection service

Turnitin :

Turnitin is a web-based plagiarism-prevention service, which checks assignments for unoriginal content. The results

can be used to help students learn how to avoid plagiarism as it provides better and faster feedback to improve their

writing or to identify similarities to existing sources. Turnitin encourages best practice in using and referencing other

people's written material.

Written assignments MUST be uploaded to Turnitin as well as being submitted as a hard copy to the Music

department drop box. You are no longer required to hand in a digital version of your written assignments on CD.

You must upload your written assignments into the link set up by your lecturer on the module's Moodle page. This

must be done before the assignment deadline. If for any reason Moodle or Turnitin are unavailable on the day an

assignment is due in, you must upload it into Turnitin as soon as possible thereafter. Details of system downtimes

can be found on Portia (the Traffic Light) and on the Help Pages (help.chi.ac.uk).

Once uploaded into Turnitin, an Originality Report will be generated, highlighting unoriginal content. This is useful

for you to check that you have referenced everything correctly. Please note that you are not aiming for a 0% score

as Turnitin will recognise all unoriginal text, including quotes, templates and text which you have referenced

correctly.

Generation of the Originality Report usually takes between 5 and 10 minutes but can take longer at busy times.

If you choose to edit and resubmit an assignment (before the due date), the Originality Report will be available the

following day. Your lecturer will only see the most recent submission.

Very importantly, you must still hand in a printed version of your assignment as normal. Failure to do so may result

in failing the module.

When you submit to Turnitin, please write the Paper ID (available from your Turnitin receipt) number onto the MAC

cover sheet attached to your hard copy assignment.

Before you submit written work:

Please ensure that all pages of work are placed into a thin plastic wallet to protect your work from damage.

Special arrangements will be made by your module tutor for submission of large or bulky pieces of work.

Please ensure that any videos, CDs or tapes are clearly labelled with your name and submitted with your

work in a re-sealable folder so that they do not get separated or lost after assessment.

http://help.chi.ac.uk/

Work must be accompanied by a blue Module Assessment Submission Sheet also referred to as a

cover sheet and this must have the Paper ID number (available from your Turnitin receipt) written on it

clearly. Please place this on top of your work in the plastic wallet.

These Module Assessment Submission Sheets are available as follows:

In the Music Office corridor near the Music Department drop box

Please complete all the boxes on the Module Assessment Submission Sheet.

Where to submit your work:

Unless instructed to do otherwise, please post your work in the Music Assessment box, outside the Music Office, 1st

floor, Music Block by 2.00 pm on the published date see Music News for date for live presentations.

Late submission of written assignments (full details are in the Student Handbook 2013/2014 on Moodle to which

you should always refer for full details)

Written assignments handed into the Music Office in person (not in the Music assessment box please) by

17.00 hours but after 14.00 hours on the due date can be accepted but will be subject to a 5% penalty

deducted from the grade awarded

Written assignments handed into the Music Office in person (not in the Music assessment box please) by

17.00 hours no later than one week after the due date can also be accepted but will be subject to a 10%

penalty deducted from the grade awarded

Performance or Presentation of Assessed work:

Presentations or performances may be made during the usual timetabled session or given a separate time and

place. Your module tutor will advise you of this. Performances and presentations are treated as exams. Failure to

attend or late arrival will be counted as a non-submission of work.

Assessment time is as stressful for us as it is for you if you have any doubts relating to the above procedures,

please ask one of the Course Administrators. We are here to help you to help us!

ASSIGNMENT EXTENSION PROCEDURE

If you have a genuine reason for not being able to submit your work on time and do not wish to incur the late

submission penalties as mentioned above, please complete an extension form BEFORE THE ASSIGNMENT IS

DUE

before the day on which the assignment is due to be submitted.

-ordinator (and the Nurse, where this is applicable) who will

agree a suitable date and if they agree to your extension will sign your form before handing it to the Music Office

respect of ill health or other

personal difficulty, or the ill health of others for whom you have responsibility for example children.

work commitments.

mination assessment can rarely be altered to allow for an extension, so students with genuine reasons for

being unable to present themselves on the published day/time will be recorded as non-submissions and advised to

complete a mitigating circumstances form

SUBMISSION OF WORK FOR WHICH AN EXTENSION HAS BEEN GRANTED:

If you have an agreed extension, please hand your assignment in to the Music Office in person. Please do not

place it in the Music assessment box or hand it to your tutor.

ACADEMIC REGULATIONS

Please refer to the UoC Student Handbook 2013-2014 and the UoC Academic Regulations Website for

details of regulations that are not outlined in this handbook. These can be found on the Moodle pages on

Portia.

UNIVERSITY OF CHICHESTER: GENERIC GRADING CRITERIA

Class /Marks

Overall

Quality

Relevance Argument (reasoning) Evidence Structure and Presentation (visual / written)

Fail 0% Non-Submission or work of no value

Fail

1-9%

Minimal

Quality

Contains little of relevance

to the objectives of the

assessment task.

Fails to answer and

address the set topic

No practical, academic or

intellectual application.

Based on little or no evidence.

Lacks academic and intellectual

integrity and quality. Use of

non-academic sources limits

intellectual understanding.

Presentation is inappropriate, unclear and inaccessible. Work is not coherent or succinct. Serious errors

of vocabulary, syntax, spelling and punctuation obscure the overall meaning. No logical development or

organisation of the materials with few links between statements and sections. References are absent,

incorrect or inaccurate.

Fail

10-19%

Very Poor

Quality

Contains limited relevance


assessment task. May

address the topic but not

the assignment brief. May

be scanty and brief.

Work is descriptive and

anecdotal. Minimal or no

argument. May be entirely reliant

on the work of others, with no

practical and /or academic

application to demonstrate

understanding of the material.

Irrelevant or minimal use of

recommended sources, resulting

in a lack of understanding and

inadequate supporting evidence.

Non-academic sources that lack

intellectual integrity are relied

upon.

Presentation is inappropriate, unclear and inaccessible. Points are not made coherently or succinctly.

Compound errors of vocabulary, syntax, spelling and punctuation seriously detract from the overall

meaning. Materials lack logical development.Relationship between statements and sections are hard to

recognise. References may be absent, incorrect or inaccurate.

Fail

20-34%

Poor Quality

Inconsistency of relevance


assessment task.

Addresses topic but not

always the assignment

brief. May be significantly

short of required length/

time.

Descriptive or anecdotal work

with scanty or no argument.

Reliant on the work of others

and does not use this to develop

own arguments. No critical

discussion or theoretical

engagement. Little practical and

intellectual application.

Minimal and inadequate

knowledge of relevant and

recommended sources. Their

use as supporting evidence may

be inaccurate, inappropriate or

negligible. Reliance on dated,

unreliable or non-academic

sources.

Poor visual and written presentation. The style may be inappropriate, unclear and inaccessible. Points

may not be made coherently or succinctly. Errors of vocabulary, syntax, spelling and punctuation may

seriously detract from the overall meaning. The materials may lack logical development and

organisation. Relationship between statements and sections may be difficult to recognise. References

may be absent, inaccurate or incorrect.

Fail/PP

35-39%

Weak Quality

May be some deviation

from objectives of the

assessment task. May not

consistently address set

question or assignment

brief. May be short of

required length/time.

Descriptive or anecdotal with

little or no critical discussion and

theoretical engagement.

Unconvincing or minimal line of

argument. Mostly reliant on the

work of others, displaying little

understanding or ability to apply

the material.

Very limited range, use and

application of relevant and

recommended sources.

Demonstrates lack of real

understanding. Too much

reliance may be placed on

dated, unreliable or non-

academic sources.

Weak presentation. Aspects of the style may be inappropriate, unclear and inaccessible. Some points

will not be made coherently or succinctly. Errors of spelling, vocabulary, syntax and punctuation may

seriously detract from the overall meaning. The materials may lack logical development and

organisation. Relationship between some statements and sections may be difficult to recognise. Limited

use of references and some may be inaccurate.

Class /Marks

Overall

Quality


3rd

40-49%

Acceptable

Quality

Satisfactorily addresses

most objectives of the

assessment task

Completed to acceptable

tolerance, limits of

time/length.

Work is descriptive with minimal

critical discussion and limited

theoretical engagement. Too

much reliance on the work of

others rather than developing

own understanding and

application of the material

Limited range of relevant and

recommended sources are

used, but with some

inadequacies in their use and

employment as supporting

evidence. There may be some

reliance on dated or unreliable

sources

Acceptable presentation. Some aspects of the style may be unclear. Points may not be made coherently

or succinctly. Some errors of vocabulary, syntax, spelling and punctuation but these are not serious

distractions from the overall meaning. Some lack of logical development and organisation of the

materials. The relationship between some statements and sections may be hard to follow. Work is

referenced accurately with some errors.

2 (ii)

50-59%

Sound

Quality,

competent

with some

limitations

Competently addresses

objectives of the

assessment task, but may

contain minor errors or

omissions at the lower

end, where treatment of

issues may be superficial.

Completed to required

time/length, etc.

Some limited critical discussion,

but argument is unconvincing,

particularly at the lower end

where the work is more

descriptive. More reliance on

work of others rather than

developing own arguments.

Limited theoretical and

conceptual analysis.

Range of relevant and

recommended sources are

used, but this may be in an

unimaginative or literal manner,

particularly at the lower end of

the range. Limited use of

sources beyond the standard

recommended materials.

Generally sound presentation. Style is largely clear and accessible. There may be minor errors of

vocabulary, syntax, spelling and punctuation but these should not detract from the overall meaning.

There may be inconsistencies in the organisation and development of materials. The relationship

between some statements and sections may not be easy to follow. Some points may not be made

coherently or succinctly. Work is referenced accurately with few errors

Class /Marks

Overall

Quality


2(i)

60-69%

High Quality,

skilled work

Clearly addresses the

objectives of the

assessment task,

especially those elements

requiring critical analysis.

At the higher end the work

will not contain errors or

omissions.

Generally clear line of critical

and evaluative argument, with

ability to develop own ideas from

the work of others. Ability to

engage in theoretical and


Good range of relevant and

recommended sources used in

an imaginative and largely

consistent way as supporting

evidence. Use of some sources

beyond recommended texts

including more complex

materials.

Good visual and written presentation. Clear and accessible style. Generally good standards of

vocabulary, syntax, spelling and punctuation. Logical organisation and development of materials.

Coherent. Relationship between statements and sections are easy to follow. Referencing is accurate and

appropriate.

1st

70-79%

Excellent

Quality

Authoritatively addresses

the objectives of the

assessment task,

especially those

components requiring

critical analysis, synthesis

and evaluation.

A clear and consistent line of

critical and evaluative argument,

displaying the ability to develop

ones own insightful ideas from

the work of others. Excellent

engagement in theoretical and


Wide range of relevant and

recommended sources used in

an insightful and consistent way

as supporting evidence. Some

in depth use of sources beyond

recommended texts, to

demonstrate independent

research.

Excellent visual and written presentation. Very clear and accessible style. Good standards of

vocabulary, syntax, spelling and punctuation. Logical and fluent organisation and development of

materials. Coherent and succinct. Relationship between statements and sections are very clear.

Referencing is accurate, appropriate and extensive.

1st

80-89%

Outstanding

Quality).

Innovatively addresses

objectives of the

assessment task,

especially those


sophistication of critical

analysis, synthesis and

evaluation.

A clear and consistent line of

highly critical and evaluative

argument, displaying the ability

to develop ones innovative

ideas from the work of others.

Creative flair in theoretical and


Wide range of recommended

and relevant sources used in an

innovative and consistent way to

support arguments. In depth use

of sources beyond

recommended texts,

demonstrates creative flair in

independent research.

Outstanding visual and written presentation. Sophisticated yet clear and accessible style. Very good

standards of vocabulary, syntax, spelling and punctuation. Possibly innovative yet logical and fluent

organisation and development of materials. Articulate, coherent and succinct. Relationships between

statements and sections are clear and precise.

Referencing is accurate, appropriate and extensive..

1st

90-100%

Exceptional or

distinguished

Quality

Professionally addresses

the objectives of the

assessment task,

especially those


originality of critical

analysis, synthesis and

evaluation.

Consistent line of profound

critical and evaluative argument,

displaying the ability to develop

original ideas from an innovative

synthesis of the work of others.

Creative flair in advanced

theoretical and conceptual

analysis.

Wide range of relevant and

recommended sources used in a

profound and consistent way as

supporting evidence. Use of

cutting-edge sources beyond the

recommended texts, including

in-depth use of complex material

demonstrating advanced

independent research.

Distinguished visual and written presentation. Highly sophisticated yet clear and accessible style.

Extremely good standards of vocabulary, syntax, spelling and punctuation. Innovative yet logical and

fluent organisation and development of materials. Highly articulate, coherent and succinct.

Relationships between statement and sections are precisely made with great clarity.

Referencing is accurate, appropriate and extensive.

Module Evaluation

Music and Media

Title of Module:

Module Code:

Date:

:

1. Your own contribution to the module

a. In what ways do you think you made a positive contribution to this module (e.g. preparation and reading, contributing to

discussions and group work)?

Did you attend every session?

How many did you miss?

b. What were your positive experiences of this module?

Thank you for your time in completing this form. Your feedback is anonymous. Your

comments and suggestions will be considered carefully. Comments, including any criticisms

or suggestions for improvements, should be constructive, and should remain mindful of

the requirement of the University to respect the rights of, and to treat with dignity *all+

members of the University.

c. Has your learning or transferable skills (e.g. independent research methods, analysis, workshop skills, specific

practical/performance skills) been developed through this module?

2. Teaching / Learning methods

How do you rate them? Excellent Good OK Poor

Your learning

Lectures

Seminars/workshops

Tutorials

If excellent or poor, please indicate why you think this:

3. Assessment

a. Were the published criteria for assessment clear? Yes / No

b. How useful was feedback on formative and/or other work?

Very useful

Somewhat

useful

Not at all

useful

Any comments:

4. Course material

a. Did you read the Handbook? Yes / No

b. Did you look at Moodle? Yes / No

c. Did you read/listen to/watch the material from the reading list?

Yes, all / Some of it / None at all

d. Did you engage with wider materials? Yes / No

If yes, please give an example:

5. Media Services/ Tech Support

a. How often did you use these?

Media Centre Every day Weekly Monthly Never

Edit Suites Every day Weekly Monthly Never

Practice/rehearsal Rooms Every day Weekly Monthly Never

How do you rate these facilities? (complete as relevant, if you didnt use a facility, leave blank)

Media Centre Excellent Good OK Poor

Edit Suites Excellent Good OK Poor

Practice/rehearsal Rooms Excellent Good OK Poor

6. Any other comments?

Mul 352 Movement and Gesture

Documents

Transcript of Mul 352 Movement and Gesture