Tech Music School BA (Hons) Creative Musicianship Programme … · 2019-10-07 · BSc(Hons) / MSc)...

Tech Music School

BA (Hons) Creative Musicianship

Programme Specification

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Contents Page BA (Hons) Creative Musicianship Programme Specification Form B 3

BA (Hons) Creative Musicianship Teaching and Assessment Structure 44

BA (Hons) Creative Musicianship Module Leadership 51

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FORM B

Programme Specification Please refer to the ‘Guidance Notes for the completion of required Validation documentation’ when completing this form.

Name of final award: (e.g. FdA / FdSc / BA(Hons) / BSc(Hons) / MSc)

BA (Hons)

Programme title: e.g. (Digital Media Arts)

Creative Musicianship

Level:

4, 5 & 6 Credits: 360

Exit awards, level and credits: (where applicable)

Certificate of Higher Education – 120 credits Diploma of Higher Education – 240 credits Ordinary degree – 300 credits Honours degree – 360 credits

School:

London College of Music (Tech Music School)

Field:

Popular Music Performance

Collaborative Partners: (where applicable) Note: Approval for a collaborative partner to deliver a programme requires an additional approval event.

Tech Music School

Document version:

2.0

Date document completed:

25/03/13

Document completed by:

Phelan Kane, Head of Higher Education, TMS

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1. Awarding body/Institution

University of West London

2. Teaching institution

Tech Music School

3. Admissions criteria

120 UCAS points (from Level 3 qualification such as A Level, which would normally include at least two subject areas, BTEC or another equivalent 16-19 Diploma) and 5 GCSE's at Grades A* - C including English. At a Diagnostic Entry Assessment, applicants are expected to demonstrate suitable standards in Performance. Non-native English speaking students need to meet our English language requirement of IELTS 5.5 or equivalent. TMS is in the continuous process of developing its support network for non-native English speaking students. This includes additional provision of tutorials based around the English language delivered by an experience practitioner (i.e. TEFL qualified tutor etc). TMS is working with local providers operating in this section alongside departments and practitioners from within the University of West London. TMS views its English language support for its non-native English speaking students as integral to its TMS Tutorial Support Programme. Applications by experienced practitioners without formal qualifications may also be considered through accreditation of prior experiential learning via the TMS APEL policy. All applicants to TMS HE programmes undergo a robust diagnostic entry assessment / audition. TMS were recently commended in the QAA Review for Education Oversight for the high quality feedback given to all applicants during entry diagnostic. The TMS admissions team, under guidance from the senior academic management team & specialist assessment / audition practitioners considered carefully all applications to ensure balance across cohorts to ensure successful ensemble work. The main focus of the diagnostic assessment is to ascertain the creative, musical and technical performance of the applicants, and to gauge their level of ability for what is a specialised programme preparing students for employment within a specialised industry.

IELTS Score for International Students

5.5 or equivalent

4. Codes

UCAS Code A W3C5

UCAS Code B N/A

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JACS Code N/A

Other N/A

5. Professional, Statutory and Regulatory Body accreditation (if applicable)

None

6. Career and progression opportunities

The BA (Hons) Creative Musicianship (vocals, drums, guitar, bass) is a course designed to support the creative commercial musician in developing a unique, bespoke artistic voice. The course provides students with the opportunity to develop a strong individual musical personality and character, within the remit of a solo artist, band front person or important contributing band member. Aspects of creativity, originality and personal style are nurtured with a focus on students developing a portfolio of unique musical compositions for performance, suitable for professional engagement within the music industry. Students will develop their instrumental / vocal technique, performance, music theory, music technology and songwriting skills and importantly gain an understanding of the contemporary music industry to ensure their career is on track for success in today’s marketplace. The ethos is to empower students to create a bespoke career path based on the creation of a personal artist development plan, original musical material, stage presence, image, branding, performance style and overall unique musical personality. To support this diverse range of possibilities, the course features a myriad of optionality at levels 5 & 6 which aims to bring both a depth of learning and a breadth of focus to study. Student’s studies culminate in an opportunity to create and manage a large-scale professional project, for example, a band performance of original material, the creation of a personal artist development plan, or managing a digital record release. Graduates will be able to pursue many differing opportunities across the music industry as:

Solo Artist

Band Leader

Musical Director

Band Member & major contributor

Singer / Songwriter

Songwriter / Composer

DIY entrepreneur

Additional career opportunities exist within the music industry upon graduation after additional study and/or experience. These include (but are not limited to) artist development, multimedia production / composition, publishing (including MIDI / music / video / multimedia), A&R, Music production / programming, Re-mixing and Label ownership. Opportunities exist for students to continue study within the remit of post graduate courses offered by UWL, such as the MMus in Popular Music Performance or MA in Advanced Audio Technology. Graduates can also explore teaching careers upon graduation or continue study on UWL’s PGCert in Learning & Teaching

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7. Location of delivery

Tech Music School, Acton, London, W3 7SZ.

8. Mode of delivery (Copy and paste this symbol - )

Full-time Part-time Distance learning Work-based learning*

Other If other, please specify:

*Work-based learning - if the programme includes work-based learning elements, please specify below:

a. Is employment in a particular work role necessary to complete assessments?

No work placement needed.

b. Are work placements an essential part of the programme?

No work placements are an essential part of the programme.

Work related learning scenarios Even though work based learning is not embedded into the course structure of the BA (Hons) Creative Musicianship, the Programme does feature a myriad of ‘work related learning’ scenarios. These scenarios are simulations of music industry activities and feature as important constructs within TMS HE programmes. TMS has spent considerable time working with industry peers and members of its tutor team to develop these scenarios, with the aim to ensure that the scenarios represent realistic simulations from the wider industry and to enhance the quality of learning opportunities available to the student body. These scenarios provided added value to the student experience and through the external facing scenarios, provide opportunities for employer engagement. At the core of the level 6 structure is the Professional Project. This is an autonomous project based on real word scenarios and is designed to allow students to create a fit for purpose, bespoke portfolio that represents their creative musical output. A supervisor provides career planning support to empower the student to deliver a fit for purpose portfolio that is intended to represent the desired employment path for each student. This module demands a wide breadth and depth of skills and the scope of the portfolio is typical of commercial work within the music industry. Please see the section ‘Profession Project Supervision’ on page 9 for more information. Further simulated scenarios embedded into the programme include weekly level 4/5/6 LPW sessions (Live Performance Workshops driven by a real world MD model), auditions for end of term gigs (based on industry audition models), level 4/5/6 Songwriting & Creative Technology assessment briefs (artist driven portfolio) and the various live events that are supported by the School across the academic year (such as Tech Records

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showcase gigs). Via the optional level 6 module Music Pedagogy in Practice, students have the choice to explore educational constructs. The module is designed to be highly participative and practical and it includes a requirement for students to undertake teaching and/ or leading in an appropriate music education setting. This setting can either be internal within TMS or external via one of the TMS Industry Partners, or via the wider remit of BIMM Group member sites. The Music Pedagogy in Practice module acknowledges the current changes proposed by the National Plan for Music Education where community musicians will now be expected to teach in schools. With both internal and external placement all related procedures such as risk assessment, health and safety, safeguarding and CRB will be adhered to with overarching management of these issues delivered by TMS on the student’s behalf.

9. Planned programme duration

Certificate of Higher Education – 120 credits – one 30 week academic cycle Diploma of Higher Education – 240 credits – one 30 week academic cycle Ordinary degree – 300 credits – one 30 week academic cycle Honours degree – 360 credits – one 30 week academic cycle

10. Sequencing within the academic calendar (Copy and paste this symbol - )

September only start February only start September and February start

Other If other, please specify:

11. First date of delivery of the programme (month and year)

September 2013

12. Language of study

English

13. Links with External Organisations/Industrial Partners

British Academy of Songwriters, Composers and Authors

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Music Producers Guild (UK) Music Managers Forum PPL PRS for Music Musicians Union Art of Record Production Conference LCoM International Songwriting Conference LCoM International Festival for Innovations in Music Production and Composition Long Island House Studios Audio Engineering Society Software and hardware by Apple Computers Software by Native Instruments Software by Ableton Software by Avid Audio hardware by Audient Academia Software Solutions Range of local music venues Korg keyboards Hammond organs Amplification by Marshall, Hartke and Peavey Guitars and Basses by Gibson, Fender and Music Man Drums by Mapex Sticks by Vater Cymbals by Zildjian Percussion equipment by LP Drum heads by Evans PA's by Peavey Microphones by Shure and Sontronics

14. Student support arrangements

Undergraduate programmes Throughout their programme of study, each student will have access to a variety of sources of support depending on individual circumstances and needs. Apart from the University-wide support framework, which encompasses the programme leaders, the module leaders, the personal tutors, in-programme learning skills development and Personal Development Planning (PDP), all students will have at their disposal a variety of different support systems which depend on the nature of the programme. The development of learning skills includes such techniques and activities as critical appraisal, reflection, literature searching, information technology, peer review, group work, presentation, research, practice/professional skills, note-taking, writing skills, electronic information retrieval, communication skills and independent study at home. These skills will be an integral part of learning programmes. Students are expected to participate in an induction. This will introduce them to the requirements of their programme of study and will provide an opportunity to receive all the relevant programme documentation, visit the Library and meet and discuss requirements and expectations of their

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planned learning experience with the programme team. Further programme specific information:

TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Programme Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Pastoral Tutorials These tutorials provide support on any issues that might get in the way of succeeding at TMS (i.e. medical, financial, accommodation or other personal issues). The Student Support team delivers these tutorials and all have received basic counselling training. Where a member of the Student Support team identifies a serious issue they will make a referral to one of TMS’s professional counsellors. Where punctuality or unprofessional behaviour is an issue those students will be called in to a pastoral tutorial to discuss any reasons for non-attendance and to be supported in getting back on track. TMS also offers it students the opportunity to attend performance psychology tutorials and master classes that address issues such as performance anxiety and stage fright. In addition, TMS has a musical health specialist, who holds regular sessions to deal with musical related injuries and their prevention. Working with a team of profession practitioners in these fields, TMS supports the well-being of their student body beyond the scope of curriculum specific issues, which forms an important aspect of personal development. TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, senior members of the academic team deliver Programme specific lectures that outline the range of options available, the aims of each optional module and its place within both the Programme and the wider music industry. The aim is for all students facing options to be given a comprehensive briefing to support their decision making process, typically from their Programme Leader, with enough lead in time to make an informed decision. During the decision making process the Head of Higher Education, Programme Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise. Profession Project Supervision At the core of the level 6 structure is the Professional Project. This is an autonomous project based on real word scenarios and is designed to allow students to create a fit for purpose, bespoke portfolio that represents their creative musical output. This can take any

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shape the student wishes, under guidance for a suitable member of the teaching faculty assigned as a supervisor. Examples include, but are not limited by, a band performance of original material, the creation of a personal artist development plan, or managing a digital record release. The supervisor provides career planning support to empower the student to deliver a fit for purpose portfolio that is intended to represent the desire employment path for each student. This module demands a wide breadth and depth of skills and the scope of the portfolio is typical of commercial work within the music industry. Therefore, this module encapsulates within its supervision structure bespoke PDP, coupled with career guidance.

15. Aims of the programme

Over its 29 year history, Tech Music School (TMS) has established itself as a market leader in popular music education, delivering professional, real world training for serious minded musicians, songwriters, producers and entrepreneurs. We strive for musical innovation, originality, creative brilliance and technical excellence and to work at the forefront of our chosen disciplines. TMS prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioners who are equipped for a sustainable career in an ever changing industry. All our tutors are active professional practitioner’s, well-placed to provide students with first-hand advice and guidance on the requirements of the music industry. We encourage a holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The BA (Hons) Creative Musicianship aims to provide graduates with the knowledge and skills appropriate to a range of career outcomes in the music industry, with a focus on their own individual musical creativity, artistic vision and bespoke career path. The ethos is to empower students to create a bespoke career path based on the creation of a personal artist development plan, original musical material, stage presence, image, branding, performance style and overall unique musical personality. Students are encouraged to develop their individual creative ability and support this with the development of a high level of performance skill. In particular, the course aims to enable students to develop:

a portfolio of unique musical compositions for performance, suitable for professional engagement within the music industry;

their own specific and charismatic artistic vision and musical personality;

a range of physical, creative, technical and performance skills relevant to their own personal artist development plan;

a comprehensive knowledge and awareness of current areas of development and innovation in songwriting and the music industry.

The above aims are unique to the BA (Hons) Creative Musicianship and provide differentiation

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with other HE performance strands offered by TMS. To provide the unique, individualistic career pathway sort by exiting students on this programme, the course structure demands both a depth of learning and a breadth of focus. The above aims serve to define the broad and wide ranging nature of skills demanded by the Programme.

In addition to the above specific aims, the programme also aims to instil skills that form part of the both the TMS & UWL HE Graduate Attributes. These skills are wide ranging and are designed to prepare Graduates for employment within the global contemporary music industry. Please see page 26 for more information surrounding Graduate Attributes.

16. Content of the programme

The BA (Hons) Creative Musicianship enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at TMS. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other musical disciplines. Students also develop their critical, analytical and reflective skills by considering their songwriting, artistic development and performances in the context of the musical, cultural and sociological development of popular music and the music industry. Alongside the attainment of high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including songwriting, recording sessions, personal artist development plans, performances, practice logs, session planners, reflective elements, learning diaries and various forms of research projects. The BA (Hons) Creative Musicianship comprises six x20 credit modules at level 4, six x20 credits modules at level 5 with level 6 comprising four x20 credit modules and one x40 credit Project module. Students must achieve a pass (40%) in all modules comprising the programme. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Programme Leader and the individual student.

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17. Module list and pre-requisites

Module Title Code Level Credits

Pre-requisites Core Optional

Band Performance 1 TMSCM401 4 20 none

Performance Techniques 1* TMSCM402 4 20 none

Songwriting & Creative Technology 1 *

TMSCM403 4 20 none

Styles TMSCM404 4 20 none

Harmony & Theory TMSCM405 4 20 none

Music Industry Landscape* TMSMB403 4 20 none


Performance Techniques 2 TMSCM502 5 20 TMSCM402

Songwriting & Creative Technology 2

TMSCM503 5 20 TMSCM402

Artist Development TMSCM504 5 20 none

Popular Music Culture TMSPERF505 5 20 TMSMB403

Showcase TMSSW505 5 20 Compulsory audition.

Applicants are expected to demonstrate appropriate standard of

performance.

Music for the Moving Image 1 TMSMP503 5 20 none

Studio Musicianship TMSCM505 5 20 none

Professional Project TMSCM601 6 40 none


Personal and Business Development

TMSPERF603 6 20 none

Techniques 3 TMSPERF604 6 20 TMSCM502

Music For Moving Image 2 TMSMP604 6 20 TMSMP503

Music Pedagogy in Practice TMSPERF607 6 20 none


TMSCM604 5 20 TMSCM503

*Compensated passes cannot be applied to these modules. See UWL regulations for further info on

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compensated passes.

Level 4 Students take six modules (120 credits). All modules are mandatory and run throughout a 30 week term cycle. Level 5 Students take five core modules. Students select one out of three optional modules (total 120 credits). All modules run throughout a 30 week term cycle. Level 6 Students take four core modules. Students select two out of four optional modules (total 120 credits). All modules run throughout a 30 week term cycle. Taxonomy of study, progression and optionality Careful consideration has been undertaken by the senior academic team at TMS with regards to the taxonomy of the BA (Hons) Creative Musicianship. Working closely with Heads of Academic Departments, members of the teaching team and industry partners, the team embedded optionality within the programme that serves to be fit for purpose, relevance and contemporary. Level 6 optionality features relevant pre-requisites (i.e. Level 6 Techniques 3 requires Level 5 Performance Techniques 2, Level 6 Music For Moving Image 2 requires Level 5 Music for the Moving Image 1, Level 6 Songwriting & Creative Technology 3 requires level 5 Songwriting & Creative Technology 2 etc). For a list of Pre-requisites please see the chart on page 12. At appropriate places throughout the academic year, senior members of the academic team deliver Programme specific lectures that outline the range of options available, the aims of each optional module and its place within both the Programme and the wider music industry. Please see the section ‘TMS Support with Module Choices’ on page 9 for more details.

Taxonomy of study, progression and optionality

Skill / Idiom BA lvl 4 Module(s) BA lvl 5 Module(s) BA lvl 6 Module(s) Notes

Performance; Band Performance 1 (c);

Band Performance Studies 2 (c); Showcase (o);

Band Performance 3 (c);

Professional Project (c);

Band Performance all core curriculum. Level 5

Showcase optional. Chance to exercise skill within lvl 6 Professional

Project module.

Instrument technique;

Performance Techniques 1 (c);


Techniques 3: Instrument

Techniques 3 (o);

Levels 4/5 core curriculum. Option to

expand skill within flagship BMus Level 6 Techniques module

Stylistic conventions;

Styles (c); Band Performance

1 (c); Performance

Techniques 1 (c); Songwriting &

Creative Technology 1 (c);

Band Performance 2 (c);


Songwriting & Creative Technology 2 (c);

Showcase (o);


Songwriting & Creative Technology

3 (o); Techniques 3:

Instrument Techniques 3 (o);

Stylistic considerations support the

arrangement, interpretation and

performance of given and original material. Studied from a band

performance, songwriting and

instrument technique

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angle.

Songwriting, composition

and musicality;

Songwriting & Creative

Technology 1 (c); Harmony & Theory

(c);




3 (o);

Level 4 modules built upon at levels 5/6 to

create unique compositional style.

Chance to exercise skill within lvl 6 Professional Project module and via

level 6 optional Songwriting & Creative Technology 3 module.

Academic writing;

Music Industry Landscape (c);

Popular Music Culture (c);


Learning development supported by TMS tutorial and student

support systems

Unique artistic vision and musical

personality;


Technology 1 (c); Band Performance

1 (c);

Songwriting & Creative Technology 2 (c); Band Performance

Studies 2 (c); Artist Development (c);


Personal and Business

Development (c); Songwriting &

Creative Technology 3 (o);

Key skill that’s embedded with many

core and optional modules throughout

programme.

Music technology and

production;


Technology 1 (c);


Studio Musicianship (o);



3 (o);

Skill embedded via progression from levels 4/5 into optional level 6

module. Chance to exercise skill within lvl 6

Professional Project module.

Moving Image composition;

N/A Music for the Moving Image 1 (o);

Music for the Moving Image 2 (o);

Skill embedded via progression from level 5 optional module. Aims to widen transferable

skills.

Music Pedagogy in

Practice;

N/A N/A Music Pedagogy in Practice (o);

Aims to widen transferable skills. Provides basis for

possible post graduate study. Covers three core

areas: one to one delivery, group teaching and community music.

Level 4 aims to expose students to a relevant range of musical disciplines and their application in this field and serves to provide students with the opportunity to enhance and embed a broad range of music and academic skills which will underpin the developmental growth of performance, critically evaluation and reasoning skills at levels 5 and 6. The development of graduate characteristics such as musical, analytical, communication, performance, IT and research skills is priority from level 4.

At level 5 teaching and learning focuses on a deeper quality of technical security, analytical thinking and evaluative interpretation. Level 6 teaching and learning continues to focus strongly on the further development of skills which students can use in subsequent careers, demanding that students demonstrate their ability to integrate and execute skills attained from their previous level 4 and 5 learning.

18. Programme Learning Outcomes

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Level 4 Relevant modules

A – Knowledge and understand ding

A1. Identify symbols representing music and

apply these symbols and aural skills to practical

work with limited guidance.

A2. Exemplify a solid understanding of the basic

relationship between theory and practice in

music.

A3. Develop and apply technical, theoretical

and creative concepts to musical structures with

appropriate authenticity and individual

interpretation.

A4. Identify industry standard protocols and

practices and apply these structures with limited

guidance.

Harmony & Theory Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry Landscape

B – Intellectual skills B1. Exercise judgement and to make informed

choices.

B2. Examine assumptions critically in the light of

evidence and begin to develop individual

interpretation.

Harmony & Theory Band Performance 1 Performance Techniques 1 Styles Songwriting & Creative Technology 1 Music Industry Landscape Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry

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B3. Develop a range of critical listening skills

that instil the ability to critique a variety of

technical, theoretical and creative concepts

within the musical idiom and use these skills to

begin to build a unique artistic personality.

B4. Comprehend the contemporary landscape

of the music industry and identify the key

performers, stakeholders and practitioners

within the industry.

B5. Conceptualise and apply pertinent theories

and concepts in relation to their own practice.

Landscape Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Performance Techniques 1 Band Performance 1 Styles Songwriting & Creative Technology 1 Music Industry Landscape Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry Landscape

C – Subject practical skills C1. Demonstrate an understanding of the

essential concepts and techniques involved

within a solo or ensemble performance within

the pop music idiom and apply these with

individuality and creativity.

C2. Demonstrate appropriate creative &

technical skills in relation to music technology

and songwriting.

C3. Creatively interpret key aspects of musical

Performance Techniques 1 Band Performance 1 Styles Songwriting & Creative Technology 1 Band Performance 1

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styles and genres within performance.

C4. Demonstrate appropriate technical skills in relation to instrumental or vocal performance.

Styles Band Performance 1 Performance Techniques 1

D – Key / Transferable skills D1. Successfully integrate appropriate

Information and Communication Technology

(word-processing, e-mail, online sources and

other electronic information services) into

personal project workflow.

D2. Undergo disciplined professional

development: practice, learn new practices,

obtain new skills, and identify career options.

D3. Employ initiative and time management

skills to carry creative, technical and other

projects to completion.

D4. Utilise interpersonal skills to communicate

ideas clearly and unambiguously within

collaborative contexts.

D5. Identify career options and access routes to

employment within a variety of appropriate

contexts.

Songwriting & Creative Technology 1 Music Industry Landscape Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry Landscape Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry Landscape Band Performance 1 Songwriting & Creative Technology 1 Harmony & Theory Band Performance 1 Styles Performance Techniques 1 Songwriting & Creative Technology 1 Music Industry

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Landscape


A – Knowledge and understanding

A1. Develop a coherent theoretical analysis of

emerging technological developments &

composition techniques within songwriting

idioms.

A2. Understand theoretical and aesthetic

systems, relate theory and practice to each

other and utilise these frameworks to define an

artistic ethos.

A3. Express a high level of musicality with an

ability to effectively analyse and synthesise

musical concepts in a popular music context

and express them with originality.

A4. Relate music to its historical, social, cultural,

political, philosophical, and economic context

and to relate processes of change in music to

historical, social and other factors.

A5. Digest pertinent academic literature and

relate it to music practice.

Songwriting & Creative Technology 2 Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Band Performance 2 Popular Music Culture Artist Development Showcase Music for Moving Image 1 Songwriting & Creative Technology 2 Popular Music Culture Artist Development

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Music for Moving Image 1

B – Intellectual skills B1. Assimilate and synthesise complex

information.

B2. Synthesise inputs (materials, knowledge,

instinct, tradition) in order to generate informed

and personally owned outputs in written, aural

or practical format.

B3. Research and explore: gathering, synthesis

and evaluation of evidence, including the ability

to quote from and acknowledge written sources.

B4. Conceptualise and apply pertinent theories

and concepts in relation to their own work.

Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Popular Music Culture Artist Development Music for Moving Image 1 Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1

C – Subject practical skills C1. Demonstrate technical proficiency and

sustained application of skills in relation to

instrumental or vocal performance.

Band Studies 2 Performance Techniques 2 Showcase

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C2. Perform effectively as part of an ensemble,

demonstrating creative individualism, solid

stylistic interpretation, appropriate authenticity,

resourcefulness and a practical understanding

of the roles and musical responsibility.

C3. Exhibit problem-solving skills: reacting to

new situations, decoding information and ideas,

dealing with complex situations, and finding

ways of working with others under pressure.

C4. Construct a bespoke artistic identity, image,

branding and musical tenet.

Band Studies 2 Performance Techniques 2 Showcase Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Artist Development Showcase

D – Key / Transferable skills D1. An ability to react spontaneously, manage

risk and cope with the unexpected.

D2. Present work in an appropriate range of

professional contexts.

Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1

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D3. Apply industry standard protocols,

techniques and methodologies suitable for a

prescribed paradigm.

D4. Through self-reflection and critique devise

and implement continuing professional

development process.

Songwriting & Creative Technology 2 Performance Techniques 2 Band Performance 2 Popular Music Culture Artist Development Showcase Studio Musicianship Music for Moving Image 1 Band Performance 2 Artist Development


A – Knowledge and understanding

A1. Assess concepts and hypotheses critically

in the light of evidence, and to apply

insights and discoveries in one area of study to

another.

A2. Define advanced academic writing

conventions and integrate their protocols within

a substantial body of work.

A3. Work autonomously on a substantial project

and utilise critical thinking skills with flair and

authority.

Professional Project Band Performance 3 Techniques 3 Music For Moving Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development Professional Project Music For Moving Image 2 Music Pedagogy in Practice Personal and Business Development Professional Project Band Performance 3 Music For Moving Image 2 Techniques 3 Music Pedagogy in Practice

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Songwriting & Creative Technology 3 Personal and Business Development

B – Intellectual skills B1. Develop research methodologies and apply

them to a suitable chosen schema via a

heightened piece of academic writing that

encapsulates appropriate referencing,

presentation and writing style.

B2. Employ reasoning and logic in order to

analyse data, and to formulate relevant

arguments and hypotheses; and the ability to

express, interpret and discuss such

analyses, arguments and hypotheses.

B3. Synthesise techniques of analysis and

enquiry autonomously.

Professional Project Music For Moving Image 2 Music Pedagogy in Practice Personal and Business Development Professional Project Music For Moving Image 2 Music Pedagogy in Practice Personal and Business Development Professional Project Band Performance 3 Techniques 3 Music For Moving Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development

C – Subject practical skills C1. Self-motivate, set realistic goals, and work

effectively, independently and/or in team

settings.

Professional Project Band Performance 3 Techniques 3 Music For Moving Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development

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C2. Absorb the imaginative concepts of others,

to build upon them and to communicate the

resultant synthesis in a unique and

individualistic manner.

C3. Draw upon contextual knowledge, musical

analysis, personal development and listening

skills to creatively plan, author and execute a

unique musical repertoire.

C4. Develop a bespoke professional portfolio of

musical output that features high levels of

creativity, personality and artistic vision.

Professional Project Band Performance 3 Techniques 3 Music For Moving Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development Professional Project Band Performance 3 Songwriting & Creative Technology 3 Professional Project Band Performance 3 Songwriting & Creative Technology 3

D – Key / Transferable skills D1. Direct personal learning, interpreting

applicable scholarly material within a suitable

professional framework.

D2. Synthesise original musical concepts, and

present the results with lucidity.

D3. Employ self-directed learning and time

management skills to ensure successful

achievement of goals and deadlines.

Professional Project Music For Moving Image 2 Music Pedagogy in Practice Personal and Business Development Professional Project Band Performance 3 Music For Moving Image 2 Songwriting & Creative Technology 3 Professional Project Band Performance 3 Techniques 3 Music For Moving

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D4. Apply problem-solving skills to cope with

new situations, translate information and ideas,

manage difficult situations, and work effectively

under pressure.

D5. Use reflective practice and critical thinking

to undertake informed personal, academic and

professional development.

Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development Professional Project Band Performance 3 Techniques 3 Music For Moving Image 2 Music Pedagogy in Practice Songwriting & Creative Technology 3 Personal and Business Development Professional Project Band Performance 3 Music Pedagogy in Practice Personal and Business Development

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The following tables show how each module supports students’ achievement of the course learning outcomes.

Level 4

A1

A2

A3

A4

B1

B2

B3

B4

B5

C1

C2

C3

C4

D1

D2

D3

D4

D5

Band Performance 1

Performance Techniques 1


Styles

Harmony & Theory

Music Industry Landscape

Level 5

A1

A2

A3

A4

A5

B1

B2

B3

B4

C1

C2

C3

C4

D1

D2

D3

D4

Band Performance 2



Artist Development

Popular Music Culture

Options (1 of 3):

Showcase


Studio Musicianship

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Level 6

A1

A2

A3

B1

B2

B3

C1

C2

C3

C4

D1

D2

D3

D4

D5

Professional Project

Band Performance 3

Personal and Business Development

Options (2 of 4):

Techniques 3

Music For Moving Image 2

Music Pedagogy in Practice


19. Graduate attributes and employability skills

The BA (Hons) Creative Musicianship is a course designed to support the creative commercial musician in developing a unique, bespoke artistic voice. The course aims students to develop a strong individual musical personality and character, within the remit of a solo artist, band front person or important contributing band member. The ethos is to empower students to create a bespoke career path based on the creation of a personal artist development plan, original musical material, stage presence, image, branding, performance style and overall unique musical personality. To achieve this goal the course intends to meet diverse student needs, perspectives and skills via a wide ranging depth and breadth of study that focuses on the following areas:

Development of a unique, bespoke creative vision and artistic voice;

Stage craft and performance skills;

Songwriting schema: engaging with musical processes & developing individual creativity.

Analysis of repertoire components and their broader aesthetic.

Creativity, craftsmanship and practical skills; Technical performance skills;

Musicianship, composition and the ability to understand and theorise the art from.

Commercial composition: engaging with musical processes & developing individual creativity;

The creative application of music technology facets and their relationship to songwriting;

The social significance of music & the role of social factors in affecting our response to music;

Music industry frameworks and personal and business development;

Project management, trouble shooting, critical thinking and self-reflection;

During the recent expansion of HE programmes offered at TMS, the senior academic management team have engaged in a robust series of programme reflection to ensure that aspects of module structure, taxonomy, curriculum, achievement, student support, progression and assessment are of the highest quality possible. The overarching rationale was to ensure all the HE programmes delivered by TMS captures the essence of the School and the University’s

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defined Graduate attributes. This process was deemed essential to ensure that each programme exhibited robust specifications and for each strand of Performance based provision, suitable differential will be embedded into each programme that confirms to the School’s student profiling vision and both the defined TMS & UWL Graduate Attributes. In 2011, the University defined the UWL Graduate Attributes as representing a set of abilities acquired by students during their period of study that go beyond simple acquaintance with a subject. They reflect the University’s approach to education which includes developing graduates who are well prepared for employment, adopting a definition of ‘employability’ that includes creative and enterprising attributes, lifelong learning attitudes, and an awareness of the global context since educational and working experience are necessarily anchored in the context of the wider world. Graduate Attributes are embedded in the subject and involve a preparedness and the confidence to analyse; question; categorise; interpret; see relations; explain; theorise; and reflect with reference to the broader context. Graduating at the University of West London and its partner TMS means that students will be developing the following Graduate Attributes and become:

A creative and enterprising professional

A reflective and critical lifelong learner

A globally aware individual

The BA (Hons) Creative Musicianship demands that graduates exhibit a strong individual musical personality and character, underpinned by a unique, bespoke artistic voice. In addition to the specific Programme Graduate Attributes, the programme also aims to instil skills that form part of the TMS HE Graduate Attributes. These skills are wide ranging and are designed to prepare Graduates for employment within the global contemporary music industry and underpin the above Graduate Attributes, as defined by the University of West London:

an understanding of the key critical, social, cultural, historical and business concepts, issues and debates relevant to the area of modern music, and to organise and sustain an argument;

a clear understanding of where their creative strengths lie and how these can be utilised in the music industry and potential career opportunities;

skills in research, analysis, problem solving and critical reflection and the visual, written and verbal communication skills required of a graduate entrant to the music industry;

initiative and personal responsibility, experience of collaborative working methods and the ability to be responsive and adaptable to changing needs and the transferable skills and competencies which enable lifelong learning within the context of professional musicianship;

transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry;

the ability to manage and organise their own learning, and to make use of scholarly reviews and primary sources, such as research articles and/or original materials appropriate to

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professional musicianship. The aim of the above TMS & UWL Graduate Attributes is for all students successfully exiting from the BA (Hons) Creative Musicianship to become globally aware music industry based professionals and lifelong learners that exhibit strong creative musical flair, an original bespoke artistic voice and strong meta cognitive critical thinking and reflection skills.

20. Teaching and Learning strategies

TMS prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioners who are equipped for a sustainable career in an ever changing industry. All our tutors are active professional practitioner’s, well-placed to provide students with first-hand advice and guidance on the requirements of the music industry. We encourage a holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The TMS curriculum experience features regular class sizes averaging 16. In these classes the core and specialist subjects are covered. Classes are delivered in a multi-level style and all students are engaged with each other’s learning. One-to-one personal tutorials are available for the negotiation and refining of personal goals and targets, both on the course and in the context of a career plan. The ‘Community of Inquiry’ is central to TMS. Studying with us enables the student to become part of a wide ranging student body of business specialists, producers, musicians, performers and songwriters at TMS; a microcosm of the industry. This gives the student an opportunity to integrate, network and build business models, musical partnerships and collaborations with students from other musical disciplines. TMS prides itself on the quality of the learning and teaching and many tutors are informed practitioners with vast industry and educational experience. Utilising a pool of existing top class performers from industry how have pedagogic experience strengths the quality of the teaching experience. Many tutors have engaged in post graduated study in their discipline and many have gone on to complete post graduate learning & teaching qualifications. Some lessons are delivered in a large scale lecture format; delivered in groups of 30-60 multi-discipline students. This is where the TMS creative community is celebrated. Philosophical ideas and concepts such as personal and business management are discussed, and collaborative projects such as gigs, production deals, songwriting splits, management deals and record labels are planned. Students begin to learn how to deal with competition, problems, setbacks, assessment, to celebrate each other’s success and to engage in peer debate. Modules will be delivered in small groups in a combined lecture/workshop format (when appropriate). Practical workshops will occur within suitably equipped rooms for relevant sections of the module. Songs and respective musical charts will be analysed and demonstrated. Performance based classes provide a feedback/coaching session, with discussion related to the style and its background/expectations. The use of technology as a teaching tool will be included in the module. When appropriate, each student will have access to their own Apple Mac workstation running industry standard hardware and software. For applicable modules, overhead projection will be used to deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using appropriate media such as classroom whiteboard, audio recordings, references to hand outs, software and hardware examples, and web URL’s. Tutorial

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opportunities exist whereby students can explore portfolio concepts with their tutor(s). Teaching and learning are staged to take account of student diversity and mirror the progression in the programme learning outcomes. Initial emphasis on explicit guidance and circumscribed learning tasks changes to a greater emphasis on teaching which encourages autonomous and reflective learning which can progress to more open-ended tasks, thus developing skills and knowledge tested by a variety of assessment tools.

Students will demonstrate different learning styles, learning at different rates with larger lecture groups giving way to smaller discipline specific groups where peer and individual learning can be promoted.

Students studying on the programme will be exposed to a relevant range of musical disciplines and their application in this field. Teaching and learning methods do depend however on the academic level. These include formal lecturing to large groups, seminars, workshops, group work, project work, performance ensembles, individual tutorials and directed and independent study.

Level 4 modules require students to begin to critically apply their musical knowledge and to start to demonstrate critical reasoning, exploring the link between theory, performance and creativity and introduce the myriad of roles available to the creative music practitioner. At level 5 teaching and learning focuses on a deeper quality of technical security, analytical thinking and evaluative interpretation. Level 6 teaching and learning continues to focus strongly on the further development of skills which students can use in subsequent careers, demanding that students demonstrate their ability to integrate and execute skills attained from their previous level 4 and 5 learning.

TMS has developed its own bespoke virtual learning environment via the Moodle platform. All TMS HE students are provided with blended learning provision via this platform. This supports TMS’ learning and teaching strategy via a myriad of curriculum specific support for the BA (Hons) Creative Musicianship. This includes the use of the VLE as a repository for both student facing documentation such as Programme Handbooks, Mitigation and Extension Forms, TMS HE Regulatory Appendices, TMS Term Dates, TMS HE Academic Writing Guides, Student Rep & Board of Studies Minutes, TMS Student Survey Results & School Handbooks. At the module level material includes supporting lecture based content such as lesson plans, PowerPoint presentation documents, links to external web sites and other assorted digital media content. The TMS Moodle platform has Turnitin Plagiarism detection software integration and the GradeMark feedback platform which will be utilised for academic writing based assessments on the BA (Hons) Creative Musicianship. The Moodle platform also features a myriad of added value components such as student discussion forums (i.e. find a discipline forum, inspired by music forum, etc) and Head of Department blogs. The VLE also hosts student access to the floor plans for the Fulham building alongside a copy of the recent TMS Self Evaluation for the QAA Review for Educational Oversight and the student authored QAA TMS Student Submission newsletter – The TMS Voice. The TMS Learning Resource Suite is provided for Student access to Moodle and other online tools. TMS is in an on-going process of sharing good practice with the University’s blended learning specialists at INSTIL and seeks to work with its awarding body to enhance blended learning provision. TMS is committed to the development of its Moodle platform and the robust integration of blending learning across all its programmes with an aim to enhance the quality of the student experience.

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21. Assessment strategies

The assessment rationale for this programme is based upon a vocational ethos. A wide range of approaches are taken which include solo and ensemble performances, audio artefacts, portfolios, examinations, reflective statements, academic essays, written critiques, transcriptions, research papers, technical exercises, written reports, investigations and (where appropriate) class presentations and seminars. The range of assessment traits utilised reflects the breadth of learning outcomes and objectives for the course itself. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the tutor, Module Leader and/or Programme Leader and the individual student. Formative assessment methodology will be embedded in the curriculum (i.e. at the end of term(s) when appropriate) and consist of presentations, seminars and tutor driven feedback workshops. Assessment design has followed appropriate taxonomy procedures and is staggered across the final phase of the term(s) to allow students to effectively manage their submission workflow. Level 4 modules feed into appropriate higher level modules to embellish and heighten skill sets (i.e. Performance Techniques 1 into Performance Techniques 2 into Techniques 3, Songwriting & Creative Technology 1 into Songwriting & Creative Technology 2, Music for Moving Image 1 into Music for the Moving image 2 etc), which feature a development of assessment design appropriate to the idiom. Academic writing and study skills are embedded into the level 4 Music Industry Landscape module providing a basis for more detail academic writing requirements for level 5 and 6 modules. Suitable assessment methods exist for level 6 modules supporting the autonomous nature of this level and developing critical thinking, analysis and reflection within the student body. The TMS assessment strategy encapsulates ‘reasonable adjustments’ opportunities for all relevant students. Under guidance from the Head of Higher Education and the Programme Leader, recently the team have utilised the University’s frameworks to successfully modify assessments where students have sustained permanent injury; moving to alternative modules or APEL onto a different course is possible.

22. Opportunities for work-based learning and employer engagement

The BA (Hons) Creative Musicianship enables students to become part of a wide-ranging student body of musicians, performers, business specialists and songwriters at TMS. This gives students an opportunity to integrate, network and build musical partnerships and collaborations with students from other musical disciplines. Even though work based learning is not embedded into the course structure of the BA (Hons) Creative Musicianship, the Programme does feature a myriad of ‘work related learning’ scenarios. These scenarios are simulations of music industry activities and feature as important constructs within TMS HE programmes. For more information, please refer the section ‘Work related learning scenarios’ on page 6.

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The School has excellent links with the music industry including leading record labels and artist management companies, performing artists, publishing companies, recording studios, industry bodies, magazines and venues. Opportunities exist for student’s to work with our Industry Partners, with many students engaging in projects during and after graduation. Our Visiting Tutor model supports the enriching and enhancement of pedagogic learning and teaching activities. Industry professions represent an important facet in the learning & teaching strategy at TMS. These individuals provide real world experience within their chosen idiom and impact knowledge, experience and inspiration within the student body. At TMS there exists many opportunities for students to engage in employer engagement. All TMS tutors are active professional practitioner’s and this creates the possibility of student & employer engagement as tutors are regularly receiving requests for potential student nominations outside the scope of TMS curriculum activities. TMS hold regular Master Classes that feature visiting professionals and often members of the student body are given the chance to perform alongside industry professionals. In addition to classroom and external reading, students studying BA (Hons) Music Business are empowered to run the real world record label ‘Tech Records’ and provide editorial for the music features website ‘Tech To The Future’. The record label and the music features website sources talent from the wider pool of students at TMS, including students from the BA (Hons) Creative Musicianship. Through its established industry contacts, TMS often manages and holds auditions for various industry professionals such as managers and record labels. Industry showcase events, such as A&R and production panels and production competitions with industry partners, allow students to engage with potential employees and showcase their work. This can yield exiting networking and employment opportunities.

23. Personal Development Planning (PDP)

Personal Development Planning is central to the ethos of the BA (Hons) Creative Musicianship. Aspects of self-reflection are embedded within the curriculum. Students will develop their critical, analytical and reflective skills by considering their practice in the context of the musical, cultural and sociological development of popular music and the music industry. Various assessment methodologies exist that provide the student the opportunity to engage in critique and self-reflection of their work. During the level 4 Band Performance 1 core module, students engage in a weekly Live Performance Workshop, under the direction of one of the members of the teaching faculty acting in the capacity of a Musical Director (MD). Throughout the academic year, students receive regular feedback within small groups based on aspects of their performance within an ensemble setting and each student completes a feedback form that encapsulates elements of tutor feedback, peer feedback and self-reflection. During the module, students use these feedback forms to submit an assessed PDP ‘Learning Journal’ that incorporates a reflective statement and showcases their personal development and progression throughout the module. This journal consist of a reflective statement outlining the students development as a performer throughout the module, a performance diary outlining band preparation and rehearsal activities for the workshops and/or assessment and copies of any relevant LPW feedback sheets. The level 5 Band Performance 2 core module features the expansion of this ‘Learning Journal’ via the submission of an assessed ‘Preparation Plan’. The plan is the consolidation of all the

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preparatory work students have engaged in for the module in the form of a performance diary that outlines band repertoire selection rationale, rehearsal activities for the weekly workshops and analysis of the success of any performances delivered in the workshops and/or assessments. This plan directly links to both the ‘Performance Prep’ and the ‘Live Performance Workshop’ elements of the Band Performance 2 module and aims to enhance self-reflection and personal development. The level 5 core module Artist Development focuses upon developing and building a unique own artistic presence. Students will study aspects of project development, creative inspiration, branding, image, social media, leadership, management and business plan development alongside further study of aspects from the wider music industry, such as music publishing, synchronisation licensing, event management, promotion and marketing. Students are required to submit for assessment one an Artist / Band Development Portfolio that outlines a unique brand, image and identify for a project they musical take a leading role within. Assessment two involves the creation of a marketing and promotion plan of their Artist / Band Development Portfolio. The plan, alongside the portfolio submitted for assessment one, consists of part of a Personal Artist Development Plan. This provides students with an opportunity to develop a solid artistic identity, explore elements of branding and marketing with the music industries and supports essential concepts that students will utilise in both the level 6 Professional Project module and their career path beyond graduation The level 6 core module Professional Project is an autonomous project based on real word scenarios and is designed to allow students to create a fit for purpose, bespoke portfolio that represents their creative musical output. This can take any shape the student wishes, under guidance for a suitable member of the teaching faculty assigned as a supervisor. The supervisor provides career planning support to empower the student to deliver a fit for purpose portfolio that is intended to represent the desire employment path for each student. Therefore, this module encapsulates bespoke PDP within its supervision structure, coupled with career guidance. Please see the section ‘Profession Project Supervision’ on page 33 for more information. The level 6 core module Personnel and Business development features an embedded PDP ethos within its design. This module gives the student the opportunity to explore and develop the personal, interpersonal and team skills that count towards success. The module will introduce what are often called the “soft” skills – or the “emotionally intelligent” skills – that are increasingly vital for personal and business success. They are particularly important for freelancers. Throughout the module, the emphasis is on developing the skills student’s need in a way that is personally relevant to them. TMS also offers it students the opportunity to attend performance psychology tutorials and master classes that address issues such as performance anxiety and stage fright. In addition, TMS has a musical health specialist, who holds regular sessions to deal with musical related injuries and their prevention. Working with a team of profession practitioners in these fields, TMS supports the well-being of their student body beyond the scope of curriculum specific issues, which forms an important aspect of personal development. Academic tutorial portals are available upon request, which are managed via the TMS Student Support team and the Programme Leader. These tutorials allow the student the opportunity to explore academic, pastoral and/or career planning areas:

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TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Course Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, senior members of the academic team deliver Programme specific lectures that outline the range of options available, the aims of each optional module and its place within both the Programme and the wider music industry. The aim is for all students facing options to be given a comprehensive briefing to support their decision making process, typically from their Programme Leader. During the decision making process the Head of Higher Education, Programme Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise. Profession Project Supervision At the core of the level 6 structure is the Professional Project. This is an autonomous project based on real word scenarios and is designed to allow students to create a fit for purpose, bespoke portfolio that represents their creative musical output. This can take any shape the student wishes, under guidance for a suitable member of the teaching faculty assigned as a supervisor. Examples include, but are not limited by, a band performance of original material, the creation of a personal artist development plan, or managing a digital record release. The supervisor provides career planning support to empower the student to deliver a fit for purpose portfolio that is intended to represent the desire employment path for each student. This module demands a wide breadth and depth of skills and the scope of the portfolio is typical of commercial work within the music industry. Therefore, this module encapsulates within its supervision structure bespoke PDP, coupled with career guidance.

24. QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this programme can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx 2. Nature and scope of music 2.12 The variety of degree titles awarded reflects the variety of the music programmes on offer. But these titles often relate to the particular history of the HEI giving the award and do not necessarily indicate the main music subject area studied. The most common award titles for an undergraduate honours degree in music are BA or BMus, but one will also find MusB, BSc, BPA, BAPA, BEng, and MA (in Scotland). Currently, there are around a

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

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hundred HEIs offering degree programmes in music, of which a small number are conservatoires (eight defined as having specialist status), the rest being divided between universities and colleges of higher or further education. 2.16 Notwithstanding these emphases, all degree programmes are characterised to some extent by the same fundamental, linking concerns. These include:

• investigating the nature of musical texts, whether written or aural • exploring musical repertoires and their cultural contexts • understanding the relevance of music and music-making to societies past and

present • interrogating issues of aesthetics, reception and dissemination of music • engaging with musical processes, materials and technologies, whether through

composition, performance, analysis, or criticism • enhancing musical creativity through performance, composition and improvisation • linking aural to notational and verbal articulations of musical ideas • tracing relationships between theory and practice • understanding the nature of musical experiences • developing musical skills.

3. Subject knowledge and understanding 3.3 Music programmes often focus on one or more specific repertoires of music from Western and/or non-Western traditions, for example art music; popular music; jazz; vernacular music; and religious music. In such programmes, aural, analytical and practical skills are fundamental but other disciplines are often drawn upon, including history, cultural theory, literature, iconography, palaeography, anthropology, ethnography, and the physical, social and technological sciences. Some indicative disciplines within music: Musical performance and composition 3.9 Personal development is also central to the study of improvisation and composition, where students seek to develop their creativity as individuals. Studies in this area will normally cover technical aspects of improvisation and composition, together with matters of presentation and of communication with performers and audiences. The learning environment will normally offer opportunities for the music of student improvisers and composers to be performed and/or recorded. 3.11 In music theory and analysis, students develop the ability to internalise a musical passage, to reflect on it constructively, and to express their conclusions using appropriate terminology, concepts and means of presentation. Studies will normally reflect both traditional ways of talking about musical materials and the concerns of recent research in this area, though the balance of these approaches may vary with the overall priorities of the programme. Familiarity with traditional concepts is frequently developed through exercises akin to composition, within specific constraints of style and technique. 3.14 Music technology is a broad subject encompassing the scientific study and manipulation of sound, creative applications, the design of novel instruments and methods for recording, storing and propagating sound. Awards may include technology-based studies in subjects vocationally relevant to the recording, broadcasting, and/or public

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performance of music, or in areas principally of relevance to composers, instrument designers and manufacturers, performers and musicologists. In addition, new industries are emerging which draw upon constituent elements of broad areas of music technology such as the design of sound for virtual and online environments, and music for interactive computer gaming. In whatever field technology-based studies are undertaken, students develop both practical mastery and an understanding of theoretical principles. 3.15 Music students studying acoustics can be expected to gain an understanding of acoustical principles specifically relevant to musical practice, concerning issues such as the design of concert halls and musical instruments. The extent to which mathematical detail and other sub-disciplines, such as psychoacoustics, are included may vary significantly according to the overall priorities of the award. 3.18 In the area of music pedagogy, students develop planning and organisational skills and the ability to undertake the practice of musical pedagogy at clearly defined levels. They study curriculum design and a range of teaching methodologies, and develop the ability to select relevant methods of delivery for different curricula. They need to understand key musical concepts in practice and to be able to translate these to an appropriate level in relation to the teaching context. It is understood that some of the theories and skills may be taught generically in other areas of the student’s programme, corresponding to the requirements of external awarding bodies. 3.20 The study of music in the community is concerned with the transforming role music may play in a variety of community settings, and with skills and insights relating to the use of music in rehabilitative, recuperative or similar contexts. The learning experience generally includes supervised work (for example on placement) in institutions such as prisons, hospitals and community centres, together with relevant academic support, and the interface with professions such as music education and music therapy may be important in some contexts. 4.3 Individual programmes in music are distinguished by the varying emphases given to practical and academic work. Thus some programmes in musical performance or composition, typically those delivered in conservatoire contexts, will give particular emphasis to the practical, creative and subject-specific skills that will equip the graduate for professional work as a performer or composer. Programmes in technology similarly emphasise specific vocational skills. Others integrate performance and/or composition with a variety of other musical studies (and complementary non-musical studies); the balance between different types of skill therefore varies, preparing students for a wide range of musical and non-musical vocations. To some extent, the balance of skills developed may be determined by the individual student according to specific interests, strengths and objectives as required for personal development. 5. Teaching, learning and assessment 5.2 The multiplicity of music curricula across the HE sector is a strength that allows students, many of whom are led to the study of music by a genuine passion for the subject, the opportunity to select a programme most suited to their particular interests and requirements. Courses concerned with contemporary, creative, or performing arts allow students to engage with aspects of musical study according to their interests and skills, and

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in some HEIs fruitful crossovers between art forms, between the arts and humanities, and between the arts and science can positively enhance the student learning experience. 5.3 Music provision in HE covers a broad spectrum from composition and performance-based programmes to those more focused on text-based studies or technology, and any integrated combination and weighting thereof. While individual music programmes will call upon and seek to develop complexes of skills and knowledge, it is generally assumed that aural-analytical skills, and the knowledge of one or more repertoires and their associated techniques and traditions of performance and reception, are fundamental to the study of the discipline. With this in mind, programme design in music is frequently based on a pattern in which these fundamental elements are consolidated within the first year (or two years of a four-year programme) while students are encouraged to specialise in the later phase of their studies.

The Quality Code The programme design methodology for the BMus (Hons) Popular Music Performance (Accelerated) has been constructed utilising guidance and parameters defined by the UK’s Quality Assurance Agency’s Quality Code. Particular reference has been made to the following documentation which has provided benchmarks throughout the programme design phase:

Chapter A1: The national level

Chapter A2: The subject and qualification level

Chapter A3: The programme level

Chapter A4: Approval and review

Chapter A5: Externality

Chapter B1: Programme design and approval

Chapter B5: Student Engagement

Chapter B8: Programme monitoring and review

Chapter B10: Management of collaborative arrangements During the design phase, careful analysis of the all ‘Indicators’ presented within the QAA documentation ‘Chapter B1: Programme design and approval’, ‘Chapter B5: Student Engagement‘, ‘Chapter B8: Programme monitoring and review’ and ‘Chapter B10: Management of collaborative arrangements’ provided guidance to meet the aim that programme design, approval, monitoring and review are linked, and that the processes involved are seen in a holistic and integrated manner. During the design phase, the BA (Hons) Creative Musicianship has been constructively aligned with the QAA Subject Benchmark statements for music (2008).This provides an academic infrastructure that supports the TMS ethos of an holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The curriculum for the BA (Hons) Creative Musicianship is forward thinking, robust and contemporary and is modelled on the landscape of the current music industry. What the student studies is relevant to the working practices of the industry: students learn what they need to learn. In line with good pedagogic practice, TMS strives to cater for as many diverse learning styles as possible during delivery of its programmes. A mixture of different learning & teaching approaches and activities are embedded in the curriculum of all TMS

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Programmes under guidance defined by the QAA Subject Benchmark statements for music (2008) and the new Quality Code. Special consideration has been placed upon the development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion within the programme, which all serve to enrich the student experience. QAA Subject Benchmark statements (Music 2008) utilised for programme design include: Aural/analytical skills

4.8 Students develop special skills in order to study the sounds of music, and to relate them to each other, to their written representations, and to their context.

Compositional skills

4.10: Like performance, composition teaches a number of technical and critical skills, and particularly emphasises the creative aspects of musical study. Some elements of compositional craft and technique may be developed through exercises using historical exemplars and enriched by historical and aesthetic reflection. Improvisation combines elements of compositional and performance skills.

Knowledge-based skills

4.11 Study of the chosen repertoire(s) and of the historical, philosophical and cultural context of music involves a variety of intellectual skills, of which some are specific to music, and some are shared with other branches of scholarship.

Technological skills

4.12: Technological skills emphasise practical competence with technological procedures, but they include a creative element and have specific vocational applications. To use an appropriate range of equipment for creating and recording music. To use and create computer software for musical tasks including composing and performing, making notation, recording, editing, analysing and synthesising sound.

Other skills

4.13 The graduate in music will have developed a wide range of transferable skills, many of which are common to the other arts, humanities, science and vocational subjects, and are applicable to issues of musical and non-musical origin. Depending on the strengths of the individual student and the character of the particular degree programme.

Intellectual skills

4.14 Such skills include the ability to research and explore: gathering, synthesis and evaluation of evidence, including the ability to quote from and acknowledge written sources. Recognise direct influences and quotations in one's own and others' work. Examine assumptions critically in the light of evidence. Employ reasoning and logic in order to analyse data, and to formulate relevant arguments and hypotheses; and the ability to express, interpret and discuss such analyses, arguments and hypotheses. Plan,

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implement, evaluate, and reflect critically on work in progress. Synthesise inputs (materials, knowledge, instinct, tradition) in order to generate informed and personally owned outputs in written, aural or practical format. Assimilate and synthesise complex information. Comprehend and apply the parameters of context extract issues of practice from principle, and principle from practice. Exercise judgement and to make informed choices. Conceptualise and to apply concepts.

Skills of communication and interaction

4.15 Such skills include information and communication technology (ICT) skills including word-processing, email, use of online and other electronic information sources. Development of language skills. The ability to work as an integrated member of a team. To respond to partnership and leadership, and to lead others in teamwork. An ability to react spontaneously, manage risk and cope with the unexpected. Skills in public presentation, including an awareness of audience characteristics and responses. Awareness of professional protocols and the ability to absorb the imaginative concepts of others, to build upon them and to communicate the resultant synthesis An appropriate outlook and experience for work in multicultural environments. Awareness of issues within the arts world: cultural policy, funding mechanisms, professional arts structures and institutions, arts within the community.

Skills of personal management

4.16: Self-motivation: to practice, take on new repertoires, create a freelance career, acquire new skills, initiate career moves, continue to learn and explore, and keep abreast of developments in an ever-changing profession. Problem-solving skills: reacting to new situations, decoding information and ideas, dealing with complex situations, and finding ways of working with others under pressure.

Enhanced powers of imagination/creativity

4.17 Such skills include flexibility of thought and action, openness to new, personal, different or alternative thinking, curiosity and the desire to explore and express and the ability and confidence to carry a creative project through to delivery.

TMSCM401 Band Performance 1 tbc TMSCM402 Performance Techniques 1 Lisa Laudat TMSCM403 Songwriting & Creative Technology 1 tbc TMSCM404 Styles Laura June Barnes TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape

Emmy Urquhart Harry Leckstein

Level 5 TMSCM501 Band Performance 2 Svetlana Vassileva TMSCM502 Performance Techniques 2 Andrew McKinney TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture Options 1 of 3: TMSSW505 Showcase TMSMP503 Music for the Moving Image 1

tbc Ian Mack Richard Lightman tbc Richard Lightman

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TMSCM505 Studio Musicianship Chris Borud

Level 6 TMSCM601 Professional Project TMSCM602 Band Performance 3

tbc tbc

TMSPERF603 Personal and Business Development Options 2 of 4:

Harry Leckstein

TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2

John Wheatcroft Richard Lightman

TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

Tim Smart tbc

The following tables show how each module supports students’ achievement of the course subject benchmark statements.

Subject Module

4.8 Aural/analytical TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSCM604 Songwriting & Creative Technology 3

4.10 Compositional TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSCM503 Songwriting & Creative Technology 2 TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM602 Band Performance 3 TMSMP604 Music for the Moving Image 2 TMSCM604 Songwriting & Creative Technology 3

4.11 Knowledge-based TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business

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Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

4.12 Technological TMSCM403 Songwriting & Creative Technology 1 TMSCM503 Songwriting & Creative Technology 2 TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSMP604 Music for the Moving Image 2 TMSCM604 Songwriting & Creative Technology 3

4.13 Other TMSMB403 Music Industry Landscape TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSPERF603 Personal and Business Development

TMSPERF607 Music Pedagogy in Practice

4.14 Intellectual TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

4.15 Communication and interaction

TMSCM401 Band Performance 1 TMSCM403 Songwriting & Creative Technology 1 TMSMB403 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

4.16 Personal management TMSCM401 Band Performance 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM501 Band Performance 2 TMSCM503 Songwriting & Creative Technology 2

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TMSCM504 Artist Development TMSSW505 Showcase TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development

4.17 Imagination/creativity TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

25. QAA Qualification Descriptors The relevant qualification descriptors for this programme can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx

The UK Quality Code for Higher Education Descriptor for a higher education qualification at level 6: Bachelor's degree with honours The descriptor provided for this level of the FHEQ is for any bachelor's degree with honours which should meet the descriptor in full. This qualification descriptor can also be used as a reference point for other level 6 qualifications, including bachelor's degrees, graduate diplomas and so on. Bachelor's degrees with honours are awarded to students who have demonstrated:

• a systematic understanding of key aspects of their field of study, including acquisition of coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline;

• an ability to deploy accurately established techniques of analysis and enquiry within a discipline;

• conceptual understanding that enables the student: to devise and sustain arguments, and/or to solve problems, using ideas and

techniques, some of which are at the forefront of a discipline; to describe and comment upon particular aspects of current research, or equivalent

http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx

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advanced scholarship, in the discipline; an appreciation of the uncertainty, ambiguity and limits of knowledge; the ability to manage their own learning, and to make use of scholarly reviews and

primary sources (for example, refereed research articles and/or original materials appropriate to the discipline);

Typically, holders of the qualification will be able to:

• apply the methods and techniques that they have learned to review, consolidate, extend and apply their knowledge and understanding, and to initiate and carry out projects;

• critically evaluate arguments, assumptions, abstract concepts and data (that may be incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem;

• communicate information, ideas, problems and solutions to both specialist and non-specialist audiences;

And holders will have:

• the qualities and transferable skills necessary for employment requiring: • the exercise of initiative and personal responsibility; • decision-making in complex and unpredictable contexts; • the learning ability needed to undertake appropriate further training of a professional or

equivalent nature. Holders of a bachelor's degree with honours will have developed an understanding of a complex body of knowledge, some of it at the current boundaries of an academic discipline. Through this, the holder will have developed analytical techniques and problem-solving skills that can be applied in many types of employment. The holder of such a qualification will be able to evaluate evidence, arguments and assumptions, to reach sound judgements and to communicate them effectively. Holders of a bachelor's degree with honours should have the qualities needed for employment in situations requiring the exercise of personal responsibility, and decision making in complex and unpredictable circumstances. Bachelor's degrees with honours form the largest group of higher education qualifications. Typically, learning outcomes for these programmes would be expected to be achieved on the basis of study equivalent to three full-time academic years and lead to awards with titles such as Bachelor of Arts, BA (Hons) or Bachelor of Science, BSc (Hons).

The following tables show how each module supports students’ achievement of the course HE descriptors.

Descriptor Module

Have demonstrated: TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2

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TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

Will be able to: TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

Will have: TMSCM401 Band Performance 1 TMSCM402 Performance Techniques 1 TMSCM403 Songwriting & Creative Technology 1 TMSCM404 Styles TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape TMSCM501 Band Performance 2 TMSCM502 Performance Techniques 2 TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship TMSCM601 Professional Project TMSCM602 Band Performance 3 TMSPERF603 Personal and Business Development TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2 TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

26. Teaching and Assessment Structure The following table summarises the learning outcomes and teaching and assessment structures for each module.

LEVEL 4

Module Credits Classes Weekly contact

hours Summative

Assessments Learning Outcomes

Band Performance 1

20

Performance Preparation workshop

1 -

1. Attend and participate in all scheduled workshops to deliver effective performances as part of a band based ensemble, drawing upon creative interpretation and suitable technical skills.

2. Deploy style-specific performance skills in a band based ensemble.

3. Undergo preparation for performance successfully, with guidance.

4. Appraise and reflect upon your personal development within the module.

Performance workshop

2 Wk 18 (30%) Wk 28 (50%) Wk 30 (20%)


20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Perform given technical or vocal instrument exercises that showcase sound technical skill.

2. Apply instrument or vocal techniques in a prescribed assignment with creativity and interpretation.

Styles 20 Styles workshop 1.5

Wk 20 (20%) Wk 20 (20%) Wk 30 (30%) Wk 30 (30%)

1. Identify stylistic elements in various genres of popular music and apply appropriate interpretation of these elements within an instrument or vocal performance.

2. Perform a chosen selection of stylistic elements from a given list, at a secure and competent level.

3. Apply stylistic conventions to original instrumental and/or vocal part writing or to existing compositions from other styles in order to create a new interpretation.

Harmony & Theory

20 Theory & Aural 1.5 Wk 10 (30%) Wk 20 (30%) Wk 30 (40%)

1. Analyse a piece of pop music and identify its core musical components.

2. Generate both basic and more complex melodic, harmonic and rhythmic structures vocally and on their instrument, and understand how they are commonly used in pop music.

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3. Employ and explore the above in creative endeavours such as composition.


Technology 1 20

Songwriting lectures Music Technology workshops

1.5

Wk9 (20%)

Wk10 (20%) Wk 20 (20%) Wk 30 (30%) Wk 30 (10%)

1. Identify & apply fundamental song writing techniques with limited guidance.

2. Apply sequencing & arranging skills within a contemporary Digital Audio Workstation.

3. Operate basic recording, editing & processing of live audio signals within a contemporary Digital Audio Workstation.

4. Demonstrate an application of creativity when using music technology to create original musical material.

Music Industry

Landscape 20

Theory lectures Seminars Tutorials

1.5 Wk10 (10%) Wk 20 (50%) Wk 30 (40%)

1. Analyse the internal structure, operation and output of a music organisation and produce a well-structured case study.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

3. Evaluate the importance of copyright as an economic force underpinning the music industry.

4. Demonstrate an appropriate level of reading and research, demonstrating appropriate academic conventions.

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LEVEL 5

Module Credits Classes Weekly

contact hours Summative


Band Performance

2 20

Performance Preparation workshop

1.5 -

1. With limited direction, perform effectively as part of a band based ensemble showcasing creative interpretation and appropriate technical skills.

2. Analyse material from a given repertoire, and execute creative, expressive and engaging performances of self-selected material from that repertoire, with limited guidance.

3. Prepare for band based ensemble performances and assessments within guidelines and develop a personal Preparation Plan.

Performance workshop

2 Wk 18 (30%) Wk 28 (50%) Wk 30 (20%)


20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Demonstrate a solid secure technical approach to their instrument by performing a selection of original instrumental or vocal technical exercises.

2. Execute a musically effective and stylistically appropriate creative performance that utilises a range of specific instrument techniques.


Technology 2 20


1.5

Wk 10 (20%) Wk 10 (20%) Wk 20 (30%) Wk 30 (30%)

1. Utilise a myriad of song-writing techniques to create a portfolio of original material with limited support.

2. Construct unique self-authored musical material and further build an identifiable repertoire of original material, with an emphasis on creativity.

3. Apply audio manipulation, editing and processing techniques with creativity.

4. Plan, manage and execute a portfolio of original songs produced using music technology hardware and software and trouble shoot basic problems with limited support.

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Popular Music Culture

20 Cultural Perspectives lecture

1.5 Wk 10 (25%) Wk 27 (75%)

1. Understand the origin, development and impact of a range of significant genres in popular music.

2. Evaluate the relationship between popular music and social change.

3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the present day.

4. Use academic resources to evaluate the impact of these artists in detail.

Artist Development

20 Theory lectures Seminars Tutorials

1.5 Wk 19 (40%) Wk 29 (60%)

1. Identify and assemble a detailed brand, image and design portfolio for a personal artist development plan.

2. Present a personal artist development plan outlining marketing and promotion.

3. Plan, manage and execute a personal artist development plan and trouble shoot problems with limited guidance.

OPTIONS (1 of 3)

Showcase 20 Theory lectures Portfolio workshops

1.5 W10 (30%) W30 (70%)

1. Identify a unique personal artistic songwriting and musical style and build a cohesive overarching aesthetic when working within the pop music idiom.

2. Construct unique self-authored musical material destined for performance and build a repertoire of original material within a self-defined style.

3. Plan, manage and execute an original song portfolio and trouble shoot problems with limited guidance.

Studio Musicianship

20 Lectures Studio sessions

1.5 Wk 19 (40%) Wk 30 (60%)

1. Construct recording session planners and create recording session diaries.

2. Direct and shape musical activities within recording environments.

3. Plan, manage and execute a production portfolio and trouble shoot problems with limited guidance.

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20

Theory lectures Film score workshop

1.5 W19 (30%) W29 (50%) W29 (20%)

1. Asses the importance of visual and music aesthetic within a music for moving image product and apply necessary compositional conventions to produce a valid artefact within the idiom.

2. Conform working methodologies to a specific external brief and demonstrate flexibility in practice.

3. Comprehend and utilise technical musical production aspects with working on a music for moving image product within industry standard hardware and software platforms.

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LEVEL 6

Module Credits Classes Weekly

contact hours Summative


Professional Project

40

Research Techniques lecture (Term 1 only)

1 -

1. Deliver a suitable professional musical project that showcases expansive creativity, technical security, stylistic interpretation, communication and flair.

2. Autonomously engage in a substantial heightened project that exhibits planning, teamwork, composition, production, argument and critique with limited supervision.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Assemble work that is suitably presented and referenced.

Supervision tutorial (4 hours per student across terms 2 & 3)

N/A

Wk 10 (10%) Plan

Wk 30 (60%) Portfolio

Wk 30 (30%) Written critique.

Band Performance

3 20

Performance Workshop

2 Wk 18 (40%) Wk 28 (60%)

1. Perform at an advanced level given and original material, with effective use of communication and interpretation skills.

2. Employ appropriate style-specific skills, in line with industry requirements.

3. Demonstrate effective use of autonomous preparation for performance.

Personal & Business

Development 20 Lecture 1.5

Wk 10 (20%) Wk 27 (80%)

1. Plan and carry out independent personal development and business development activity

2. Analyse the results of this activity 3. Critically evaluate a range of tools/methods for personal

and business development, relating these tools to their own developmental activity

OPTIONS (2 of 4)

50

Techniques 3 20 Instrument Technique workshop

1.5 Wk 20 (40%) Wk 30 (60%)

1. Demonstrate an advanced technical approach to their instrument by performing prescribed technical exercises.

2. Utilise advanced techniques in a creative assignment.

Music For Moving Image

2 20

Theory lectures Film score workshop

1.5 W30 (60%) W30 (40%)

1. Distinguish the role of composition and visual aesthetic when working within a brief for a moving image product and successfully syntheses these areas to produce a high quality cohesive asset that follows industry standard protocols.

2. Appraise and apply compositional traits and technical musical production facets when working on a music for moving image product and justify use.

3. Plan, manage and execute a high order moving image project and trouble shoot problems with total independence.


Technology 3 20


1.5 Wk 10 (20%) Wk 20 (20%) Wk 29 (60%)

1. Interpret a myriad of advanced songwriting techniques and derive them into a high order original portfolio of self-authored work that encapsulates originality, creativity and flair.

2. Construct a self-generated music production style and create a high order audio artefact that that exhibits originality, creativity and flair.

3. Plan, manage and execute a portfolio of original songs produced using music technology hardware and software and trouble shoot problems with total independence.

Music Pedagogy in Practice

20

Theory lectures Practical workshop Micro-teaching

1.5

Wk 26-29

(50%) Wk 30 (50%)

1. Utilise key pedagogic principles vital to musical learning in a variety of settings.

2. Create session outcomes and learning outcomes through devising an appropriate educational project in music.

3. Enable and facilitate participants’ musical progression. 4. Evaluate the strengths and weaknesses of their own

sessions as well as those of their peers.

27. BA (Hons) Creative Musicianship Module Leadership

Level 4 TMSCM401 Band Performance 1 tbc TMSCM402 Performance Techniques 1 Lisa Laudat TMSCM403 Songwriting & Creative Technology 1 tbc TMSCM404 Styles Laura June Barnes TMSCM405 Harmony & Theory TMSPERF406 Music Industry Landscape

Emmy Urquhart Harry Leckstein

Level 5 TMSCM501 Band Performance 2 Svetlana Vassileva TMSCM502 Performance Techniques 2 Andrew McKinney TMSCM503 Songwriting & Creative Technology 2 TMSCM504 Artist Development TMSPERF505 Popular Music Culture Options 1 of 3: TMSSW505 Showcase TMSMP503 Music for the Moving Image 1 TMSCM505 Studio Musicianship

tbc Ian Mack Richard Lightman tbc Richard Lightman Chris Borud

Level 6 TMSCM601 Professional Project TMSCM602 Band Performance 3

tbc tbc

TMSPERF603 Personal and Business Development Options 2 of 4:

Harry Leckstein

TMSPERF604 Techniques 3 TMSMP604 Music for the Moving Image 2

John Wheatcroft Richard Lightman

TMSPERF607 Music Pedagogy in Practice TMSCM604 Songwriting & Creative Technology 3

Tim Smart tbc

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