programme specification

Transcription

BA (Hons) Songwriting Programme Specifications
Contents
Page
BA (Hons) Songwriting Programme Specifications Form B
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BA (Hons) Songwriting Teaching and Assessment Structure
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BA (Hons) Songwriting Module Leadership
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BA (Hons) Songwriting Level 4
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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:
BA (Hons)
(e.g. FdA / FdSc / BA(Hons) /
BSc(Hons) / MSc)
Programme title:
Songwriting
e.g. (Digital Media Arts)
Level:
4, 5 & 6
Exit awards, level and
credits:
Certificate of Higher Education – 120 credits
Diploma of Higher Education – 240 credits
Ordinary degree – 300 credits
Honours degree – 360 credits
(where applicable)
School:
Tech Music School
Field:
Music Production
Collaborative Partners:
None
Credits:
360
(where applicable)
Note: Approval for a collaborative
partner to deliver a programme
requires an additional approval
event.
Document version:
1.0
Date document completed:
23/3/12
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
160 UCAS points (from Level 3 qualification such as A Level/BTEC, or another equivalent 16-19
Diploma).
Applicants must have achieved Grade 5 Theory & Aural (from a recognised award body) for
successful admission. In special circumstances a conditional place may be offered prior to
completion of grade 5 before the course commences.
Non native English speaking students need to meet our English language requirement of IELTS
5.5 or equivalent.
Applications by experienced practitioners without formal qualifications may also be considered
through accreditation of prior experiential learning via the TMS APEL policy.
IELTS Score for International
Students
4. Codes
UCAS Code A
N/A
UCAS Code B
N/A
JACS Code
N/A
5.5 or equivalent
Other
5. Professional, Statutory and Regulatory Body accreditation (if applicable)
None
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6. Career and progression opportunities
The BA (Hons) Songwriting allows students to develop the skills necessary to produce high
quality original musical material relevant to the modern music industry. The course has an
emphasis on creativity and originality and allows students to develop your individual voice and
style. A successful songwriter needs a wide range of skills, therefore the course includes modules
in composition, stylistic analysis, arranging, lyric writing, recording skills, musicianship, music
business, music production, composing music for the moving image and writing to commission.
Option choices at level 6 will allow students to focus on and develop skills in different paradigms,
within a level 6 autonomous construct.
Graduates will be able to pursue many differing opportunities across the music industry as
songwriters, arrangers, self composing artists, in house writers, freelance writers, music for
moving image composers, mix and/or recording engineers, music programmers, publishers, song
producers / doctors and music for stage composers. Opportunities exist for students to explore
teaching careers upon graduation.
7. Location of delivery
Tech Music School, Acton, London, W3 7SZ.
8. Mode of delivery
(Copy and paste this symbol - )
Full-time 
Other
Part-time
Distance learning
Work-based learning*
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?
b. Are work placements an essential part of the programme?
Via the optional level 6 module TMSPERF607 Music Pedagogy 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 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 over arching management of these issues
delivered by TMS on the student’s behalf.
9. Planned programme duration
Certificate of Higher Education – 120 credits – one academic year.
Diploma of Higher Education – 240 credits – two academic years.
Ordinary degree – 300 credits – three academic years.
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Honours degree – 360 credits – three academic years.
10. Sequencing within the academic calendar
(Copy and paste this symbol - )
September only start 
Other
February only start
September and February start
If other, please specify:
11. First date of delivery of the programme (month and year)
September / October 2012
12. Language of study
English
13. Links with External Organisations/Industrial Partners
British Academy of Songwriters, Composers and Authors
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
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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
planned learning experience with the programme team.
The following student support services are available for students:
Careers and Employment Services
Advice Team
Disability Team
Information and Funding Team
Accommodation Team
Chaplaincy
Counselling
Students’ Union
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 Career Action Planning and Artist Development Tutorials
These tutorials are a unique aspect of the TMS experience that enable students to have
intensive one-to-one meetings with highly experienced professionals who can advise on all
aspects of professional development from technical advice to broader support in all
aspects of a student’s progress. TMS aims to provide the widest range of tutors across all
disciplines and slots can be booked up to three weeks in advance.
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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 Support with Module Choices
In regards to module selection process for the BMus/BA Level 5 and 6, students make
their choices across a three week period when academic skills are discussed and
analysed. During the decision making process the Head of 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.
15. Aims of the programme
The BA (Hons) Songwriting 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. Performance opportunities exist to have your songs performed by
members of the School’s student body.
Students also develop their critical, analytical and reflective skills by considering their songs 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 song frameworks, session planners, reflective elements,
learning diaries and various forms of research projects.
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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16. Content of the programme
The course aims to provide graduates with the knowledge and skills appropriate to a range of
career outcomes in the music industry. Students are encouraged to develop their individual
creative ability and support this with the development of a high level of technical skill. In particular,
the course aims to enable students to develop:

a range of physical, creative, technical and compositional skills relevant to employment in the
commercial songwriting and creative industries;

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 comprehensive knowledge of contemporary practice for careers in the music industry and
the creative processes in the professional field in which they will specialise, together with an
awareness of current areas of development and innovation in songwriting and the music
industry;

the ability to make creative use of, and experiment with, new and existing music technology
hardware and software platforms in contemporary professional songwriting practice;

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 songwriting;

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
professional songwriting.
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17. Module list and pre-requisites
Module Title
Code
Level Credits
Pre-requisites
Core
Optional
Recording Skills
TMSMP501
4
20
none

Songwriting 1*
TMSSW401
4
20
none

Song Stylistics
TMSSW402
4
20
none

Music Technology for
Songwriters 1
TMSSW403
4
20
none

Musicianship*
TMSSW404
4
20
none

Music Industry Landscape*
TMSMB403
4
20
none

Songwriting 2*
TMSSW501
5
20
TMSSW401

Songwriters 2
TMSSW502
5
20
none

Arranging
TMSSW503
5
20
TMSSW404

Music Publishing and the Legal
Framework
TMSBUS502
5
20
none

TMSPERF505
5
20
TMSMB403

Music for Moving Image 1
TMSMP503
5
20
none

Writing for Commission
TMSSW504
5
20
none

Showcase
TMSSW505
5
20
Song Project
TMSSW601
6
40
none

TMSPERF603
6
20
none

Songwriting 3
TMSSW602
6
20
TMSSW501

Song Production
TMSSW603
6
20
none

Writing for Stage
TMSSW604
6
20
none

Music For Moving Image 2
TMSMP604
6
20
TMSMP503

Songwriters 3
TMSSW605
6
20
none

TMSPERF607
6
20
none

Popular Music Culture
Personal and Business
Development
Music Pedagogy in Practice

Compulsory
audition.
Applicants are
expected to
demonstrate
standards to
grade 7
performance.
*Compensated passes cannot be applied to these modules. See UWL regulations for further info on compensated
passes.
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18. Programme Learning Outcomes
Level 4
A – Knowledge and
understanding
A1. Illustrate a firm grasp of the essential
concepts and techniques involved within a
Relevant modules
Recording Skills
Songwriters 1
typical music production environment.
A2. Exemplify a solid understanding of the basic Song Writing 1
Song Stylistics
concepts of songwriting, within the popular
Musicianship
music idiom.
A3. Create a solid grounding in musicality and
apply technical, theoretical and creative
Song Writing 1
Song Stylistics
Musicianship
concepts to musical structures.
A4. Identify industry standard protocols and
Recording Skills
practices and apply these structures with limited Song Writing 1
Song Stylistics
guidance.
Songwriters 1
Musicianship
Music Industry
Landscape
B – Intellectual skills
B1. Exercise judgement and to make informed
choices.
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
B2. Examine assumptions critically in the light of Recording Skills
Song Writing 1
evidence.
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
B3. Assemble a range of critical listening skills
that instil the ability to critique a variety of
songwriting, music production, sequencing
and/or recording techniques.
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Recording Skills
Song Writing 1
of the music production industry and identify the Song Stylistics
key stakeholders and providers within the
Songwriters 1
B4. Comprehend the contemporary landscape
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industry.
B5. Conceptualise and apply pertinent theories
and concepts in relation to their own work.
C – Subject practical skills
C1. Use an appropriate range of equipment for
creating and recording music.
C2. Use and create computer software for
musical tasks including composing and
recording, editing, analysing and synthesising
sound.
C3. Begin to build a portfolio of music industry
related content, with limited independence.
C4. Deliver songwriting & academic portfolios in
a myriad of suitable industry standard formats.
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.
Music Industry
Landscape
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
Recording Skills
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
Recording Skills
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D3. Employ initiative and time management
projects to completion.
Song Writing 1
Song Stylistics
Songwriters 1
Musicianship
Music Industry
Landscape
D4. Utilise interpersonal skills to communicate
Recording Skills
Songwriters 1
skills to carry creative, technical and other
ideas clearly and unambiguously within
collaborative contexts.
D5. Identify career options and access routes to Recording Skills
Song Writing 1
employment within a variety of appropriate
Song Stylistics
contexts.
Songwriters 1
Musicianship
Music Industry
Landscape
A – Knowledge and
understanding
Level 5
Relevant modules
A1. Develop a coherent theoretical analysis of
Song Writing 2
Arranging
Showcase
emerging technological developments within
songwriting idioms.
A2. Understand theoretical and aesthetic
systems and relate theory and practice to each
other.
A3. Express a high level of musicality with an
ability to effectively analyse and synthesise
musical concepts in a popular music context.
Song Writing 2
Songwriters 2
Arranging
Music Publishing & the
Legal Framework
Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
Arranging
Music for Moving
Image 1
Showcase
A4. Relate music to its historical, social, cultural, Song Writing 2
political, philosophical, and economic context
Songwriters 2
and to relate processes of change in music to
Arranging
historical, social and other factors.
Legal Framework
13
Music for Moving
Image 1
Showcase
A5. Digest pertinent academic literature and
relate it to music industry practice.
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.
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
B3. Research and explore: gathering, synthesis Music Technology for
Songwriters 2
and evaluation of evidence, including the ability
to quote from and acknowledge written sources. Legal Framework
Music for Moving
Image 1
B4. Conceptualise and apply pertinent theories
and concepts in relation to their own work.
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
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Studio Management
C1. Reflect critically in order to evaluate
technologically-mediated forms of music.
C2. Implement advanced musical and technical
constructs with an emphasis on originality and
creativity.
Song Writing 2
Songwriters 2
Music for Moving
Image 1
Song Writing 2
Songwriters 2
Arranging
Music for Moving
Image 1
C3. Exhibit problem-solving skills: reacting to
Song Writing 2
new situations, decoding information and ideas,
Songwriters 2
dealing with complex situations, and finding
Arranging
ways of working with others
Legal Framework
under pressure.
Music for Moving
Image 1
Showcase
D1. An ability to react spontaneously, manage
risk and cope with the unexpected.
D2. Present work in an appropriate range of
professional contexts.
D3. Apply industry standard protocols,
techniques and methodologies suitable for a
prescribed paradigm.
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
Arranging
Legal Framework
Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
Arranging
Legal Framework
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Music for Moving
Image 1
Showcase
Song Writing 2
Songwriters 2
expansion of knowledge, devise and implement
Arranging
a continuing professional development
Legal Framework
processes.
Music for Moving
Image 1
Showcase
D4. Through self reflection, critique and/or
A – Knowledge and
understanding
Level 6
Relevant modules
A1. Assess concepts and hypotheses critically
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
in the light of evidence, and to apply
insights and discoveries in one area of study to
another.
A2. Define advanced academic conventions
Song Project
and integrate their protocols within a substantial
Development
body of work.
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
A3. Work autonomously on a substantial project Song Project
and utilise critical thinking skills with flair and
Development
authority.
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
B1. Develop research methodologies and apply Song Project
them to a suitable chosen schema via a
Development
heightened piece of academic writing that
Songwriting 3
Song Production
encapsulates appropriate referencing,
Writing for Stage
presentation and writing style.
Music For Moving
Image 2
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Song Writers 3
Music Pedagogy
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 using established procedures.
C1. Self-motivate, set realistic goals, and work
effectively independently and/or in team
settings.
C2. Absorb the imaginative concepts of others,
to build upon them and to communicate the
resultant synthesis.
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
C3. Demonstrate advanced practical proficiency Song Project
Songwriting 3
in relation to songwriting paradigms.
Song Production
Writing for Stage
D1. Direct personal learning, interpreting
applicable scholarly material within a suitable
professional framework.
Song Project
Development
Songwriting 3
Song Production
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Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
D2. Synthesise original concepts, and present
the results with lucidity.
D3. Employ self-directed learning and time
management skills to ensure successful
achievement of goals and deadlines.
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.
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
Song Project
Development
Songwriting 3
Song Production
Writing for Stage
Music For Moving
Image 2
Song Writers 3
Music Pedagogy
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19. Graduate attributes and employability skills
Recognising the need for songwriters to find employment in an extremely competitive industry,
the qualification has a vocational emphasis and (in addition to academic skills) focuses on the
following areas:








Creativity, craftsmanship and practical skills.
Songwriting schema: engaging with musical processes & developing individual creativity.
Analysis of repertoire components and their broader aesthetic.
Musicianship, composition and the ability to understand and theorise the art from.
The creative application of music production 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.
20. Teaching and Learning strategies
TMS prides itself on its high quality teaching which supports the development of technically
accomplished, creative and versatile practitioner’s 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 ranging from 12-16. 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.
Some lessons are delivered in a large scale lecture format; delivered in groups of 30-60 multidiscipline 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. 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 software and hardware examples, classroom
whiteboard, audio recordings, references to hand outs and web URL’s. Tutorial opportunities exist
whereby students can explore portfolio concepts with their tutor(s).
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21. Assessment strategies
The assessment rationale for this programme is based upon a vocational ethos. Constructive
alignment has been applied where ever possible to assessment artefacts across modules which
retains the individual academic scope for each element of the programme (i.e. Level 4 Recording
Skills and Level 4 Music Technology for Songwriters 1). A wide range of approaches are taken
which include audio artefacts, portfolios, examinations, session diaries, timed projects, repertoire
performance (via session performers and MD processes), academic essays, written critiques,
transcriptions, moving image media, 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 level 5 modules to embellish and heighten skill sets (i.e.
Songwriting 1 into Songwriting 2 into Songwriting 3, Musicianship into Arranging into Music for the
Moving Image 2 etc). 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. Various conceptual pathways exist within the programme (i.e. level 5
Writing for Commission into level 5 Song Production; level 4 Musicianship into level 5 Arranging
into level 6 Music for Moving Image 2) which feature a development of assessment design
appropriate to the idiom. 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.
22. Opportunities for work-based learning and employer engagement
The BA (Hons) Songwriting 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. Performance opportunities exist to have student’s songs
performed by members of the School’s ‘performance’ student body.
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.
20
23. Personal Development Planning (PDP)
Personal Development Planning is central to the ethos of the BA (Hons) Songwriting. Aspects of
self reflection are embedded within the curriculum. Students will develop their critical, analytical
and reflective skills by considering their productions 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.
The core level 6 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.
Academic tutorial portals are available upon request, which are managed via the TMS Student
Support team and Course Leaders. These tutorials allow the student the opportunity to explore
academic, pastoral and/or career planning areas:
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 Career Action Planning and Artist Development Tutorials
These tutorials are a unique aspect of the TMS experience that enable students to have
intensive one-to-one meetings with highly experienced professionals who can advise on all
aspects of professional development from technical advice to broader support in all
aspects of a student’s progress. TMS aims to provide the widest range of tutors across all
disciplines and slots can be booked up to three weeks in advance.
TMS Support with Module Choices
In regards to module selection process for the BMus/BA Level 5 and 6, students make
their choices across a three week period when academic skills are discussed and
analysed. During the decision making process the Head of Education, Course 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.
21
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-benchmarkstatements.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 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
22
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 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 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.
23
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 programme design methodology for the BA (Hons) Songwriting has been constructively
aligned with the QAA Subject Benchmark statements for music (2008) as outlined in section
4.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)
Songwriting 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 Programmes under guidance defined by the QAA Subject Benchmark
statements for music (2008): development of concrete experience / reflective observation /
abstract conceptualisation / active experimentation and discussion 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
24
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,
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.
25
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
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
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.
26
26. BA (Hons) Songwriting Teaching and Assessment Structure
The following table summarises the learning outcomes and teaching and assessment structures for each module.
LEVEL 4
Module
Recording
Skills
Song Writing
1
Song
Stylistics
Credits
20
20
20
Classes
Theory lectures
Recording
workshops
Theory lectures
Songwriting
workshops
Theory lectures
Analysis
workshops
Weekly contact
hours
1.5
1.5
1.5
Summative
Assessments
W10 (30%)
W30 (50%)
W30 (20%)
W9 (30%)
W19 (30%)
W29 (40%)
W20 (40%)
W30 (60%)
Learning Outcomes
1. Demonstrate a solid understanding in the use and
application of microphones.
2. Evaluate digital audio theory and successfully
implement digital audio traits within a contemporary
Digital Audio Workstation.
3. Construct multi track recordings of live audio signals
within a contemporary Digital Audio Workstation.
4. Plan, manage and execute a group work based
recording portfolio and trouble shoot basic problems
with limited support.
1. Identify, evaluate and successfully implement
songwriting techniques within a portfolio of original
material under guidance.
2. Construct a portfolio of original contrasting songs with
an emphasis on creativity.
3. Plan, manage and execute a portfolio of original songs
and trouble shoot basic problems with limited support.
1. Identify stylistic song traits utilised within the pop music
idiom.
2. Apply a myriad of appropriate songwriting techniques
when constructing original material to a stylistic brief.
3. Appraise and justify a selection of songwriting traits
utilised within a stylistic brief.
constructed to a stylistic brief and trouble shoot
problems with limited support.
Music
Technology
for Song
Writers 1
Musicianship
Music
Industry
Landscape
20
Theory lectures
Workstation
workshops
1.5
W10 (30%)
W30 (50%)
W30 (20%)
Theory & Aural
lectures
1
W19 (30%)
W29 (30%)
Production & song
analysis
workshops
1
W29 (40%)
20
20
Industry
lectures
1.5
Wk10 (10%)
W20 (50%)
W30 (40%)
1. Apply sequencing techniques within a software
environment.
2. Perform musically applicable edits upon digital audio
content.
3. Develop a creative approach to mix down schematics.
4. Plan, manage and execute a music production artefact
1. Demonstrate an understanding of key theoretical
concepts by constructing basic musical structures in a
limited timeframe.
2. Analyse and interpret basic musical structures in a
limited timeframe.
3. Identify and provide critique upon a myriad of music
production techniques and their role within the aesthetic
of the studied material.
4. Identify and provide critique upon a myriad of
songwriting techniques and their role within the
aesthetic of the studied material.
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.
28
LEVEL 5
Module
Songwriting 2
Music
Technology
for Song
Writers 2
Arranging
Credits
20
20
20
Classes
Theory lectures
Songwriting
workshops
Theory lectures
Workstation
workshops
Theory lectures
Arranging
workshop
Weekly
contact hours
1.5
1.5
1.5
Summative
Assessments
W9 (30%)
W19 (30%)
W29 (40%)
W30 (60%)
W30 (40%)
W9 (30%)
W29 (70%)
Learning Outcomes
1. Appraise a myriad of songwriting techniques and apply
them into a self constructed portfolio of original material
2. Construct unique self-authored musical material and
further build an identifiable repertoire of original
material, with an emphasis on creativity.
1. Produce a high quality mix down artefact that has an
emphasis on musical aesthetic.
2. Apply audio manipulation, editing and processing
techniques with creativity.
3. Create broadcast ready mastered artefacts within
industry standard protocols.
4. Plan, manage and execute both mix down artefacts and
mastered artefacts and trouble shoot basic problems
1. Apply advanced theoretical concepts to pre-defined
compositions within a fixed timeframe.
2. Create an original arrangement using various standard
professional techniques for a medium to large
ensemble within a fixed timeframe.
3. Produce a score for an arrangement, using correct
notational conventions for a medium to large ensemble
within a fixed timeframe
29
Music
Publishing
and the Legal
Framework
Popular Music
Culture
20
20
Theory lectures
Seminars
Tutorials
Cultural
perspectives
lecture
1.5
1.5
W20 (40%)
W30 (60%)
Wk 10 (25%)
Wk 27 (75%)
1. Describe and evaluate historical changes in copyright
law in the context of the UK music industry.
2. Evaluate basic copyright law and the format of relevant
music industry based contracts, from a variety of
positions (e.g. performers, song writers, music
publishers, music industry workers).
3. Evaluate the contemporary context of copyright and its
relationship to a changing media environment.
4. Produce a well-structured, critical case study of a
publishing firm with reference to its legal framework,
employing fundamental skills of primary and secondary
research.
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 artist in detail
OPTIONS
(1 of 3)
Music for
Moving Image
1
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.
30
Writing for
Commission
Showcase
20
20
Theory lectures
Songwriting
workshops
Theory lectures
Portfolio workshops
1.5
1.5
W19 (40%)
W29 (60%)
W10 (30%)
W30 (70%)
1. Distinguish the role of musical aesthetic when working
within a specified brief and successfully syntheses
these areas to produce a high quality cohesive asset.
2. Appraise and apply appropriate songwriting and
compositional traits when working on a pre-defined
music brief and justify use.
3. Plan, manage and execute a high order music project
defined to a specific brief and trouble shoot problems
with limited guidance.
1. Identify a unique personal artistic songwriting and
musical style and build a cohesive over arching
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.
31
LEVEL 6
Module
Credits
Classes
Research
techniques lectures
(term one only)
Song Project
Weekly
contact hours
Summative
Assessments
1
W10 (10%)
W30 (60%)
W30 (30%)
40
Supervision
0.4
Learning Outcomes
1. Deliver a songwriting portfolio that showcases
expansive musical security, stylistic interpretation,
creative aesthetic and flair.
2. Autonomously engage in a substantial heightened
project that exhibits planning, composition, production,
argument and critique with limited supervision.
3. Develop and present appropriate research
methodologies that encapsulate a broad range of
sources. Interpret said sources in a robust cognitive
manner, focused on a pertinent, concise theme.
Assemble work that is suitably presented and
referenced.
1.
Personal and
Business
Development
20
Lecture
1.5
W27 (100%)
2.
3.
Plan & carry out independent personal development
and business development activity.
Analyse the results of this activity.
Critically evaluate a range of tools/methods for
personal and business development, relating these
tools to their own developmental activity.
OPTIONS
(2 of 6)
32
Songwriting 3
Song
Production
Writing for
Stage
20
20
20
Theory lectures
Songwriting
workshops
Theory lectures
Songwriting
workshops
Theory lectures
Songwriting
workshops
1.5
1.5
1.5
W9 (30%)
W19 (30%)
W29 (40%)
W19 (30%)
W29 (70%)
W20 (40%)
W30 (60%)
1. Appraise advanced songwriting techniques utilised
beyond the standard remit of the popular music idiom
and critique their use within a self authored piece of
work.
2. 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.
and trouble shoot problems with total autonomy.
1. Appraise advanced songwriting techniques utilised
beyond the standard remit of the popular music idiom
and critique their use within a self authored piece of
work.
2. Interpret a myriad of advanced songwriting techniques
and derive them into a high order original portfolio of
self authored work that encapsulates originality,
and trouble shoot problems with total autonomy.
1. Distinguish the role of musical aesthetic when working
within a music for stage brief and successfully
syntheses these areas to produce a high quality
cohesive asset.
2. Appraise and apply appropriate songwriting,
compositional and arranging traits when working on a
pre-defined music for stage brief and justify use.
3. Plan, manage and execute a high order music for stage
project defined to a specific brief and trouble shoot
problems with total independence.
33
Music For
Moving Image
2
Music
Technology for
Song Writers 3
Music
Pedagogy in
Practice
20
20
20
Theory lectures
Film score
workshop
Theory lectures
Workstation
workshops
Theory lectures
Practical workshop
Micro-teaching
1.5
1.5
1.5
W30 (50%)
W30 (30%)
W30 (20%)
W30 (60%)
W30 (40%)
W28 (50%)
W22-27 (50%
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 advanced 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.
1. Construct a self generated music production style and
create a high order audio artefact that that exhibits
originality, creativity and flair.
2. Interpret synthesis and sampling methodologies within
a virtual environment and apply traits to form a
musically cohesive artefact.
3. Explore advanced sonic manipulation and audio
processing techniques via industry standard protocols.
4. Plan, manage and execute a high order audio
processing project and trouble shoot problems with
total independence.
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.
34
27. BA (Hons) Songwriting Module Leadership
Level 4
TMSMP401 Recording Skills
TMSSW401 Songwriting 1
TMSSW402 Song Stylistics
TMSSW403 Music Technology for Song Writers 1
TMSSW404 Musicianship
TMSMB403 Music Industry Landscape
Level 5
TMSSW503 Arranging
TMSBUS502 Music Publishing & the Legal
Framework
TMSPERF505 Popular Music Culture
Options 1of 3:
TMSMP503 Music for Moving Image 1
TMSSW504 Writing for Commission
TMSSW505 Showcase
Level 6
TMSSW601 Song Project
TMSPERF603 Personal and Business Development
Options 3 of 6:
TMSSW602 Song Writing 3
TMSSW603 Song Production
TMSSW604 Writing for Stage
TMSMP604 Music for the Moving Image 2
TMSPERF607 Music Pedagogy in Practice
Johan Englund
Yak Bondy
tbc
Johan Englund
Richard Lightman
Harry Leckstein
Victy Silva
Johan Englund
tbc
Ian Mack
Richard Lightman
Richard Lightman
Yak Bondy
Victy Silva
Yak Bondy
Harry Leckstein
Yak Bondy
Victy Silva
tbc
Richard Lightman
Johan Englund
tbc
BA (Hons) Songwriting
Level 4
36
TMSMP401: Recording Skills
Key Information
Course:
BA (Hons) Music Production
BA (Hons) Song Writing
Module Code:
TMSMP401
Module Level:
4
Module Credits:
20
Pre-requisite module or learning:
None
Module type:
Mandatory
Teaching & Learning
Lectures: 1 x 1.5-hour lectures per week for 27 weeks (40.5 hours)
Tutorials: 3 x 20 minutes
Personal Development Time: 158.5 hours
Module Leader & Tutors
Module Leader: tbc
Tutors: tbc
Module Summary
Behind every great audio product there lies a great recording. The skills needed to capture a great recording are
essential to any music producer or creative musician. This module explores the fundamental principles of multi track
recording technique covering aspects such as audio quality and microphone technique. Understanding the technical
constraints imposed by a recording system can allow you to achieve the maximum results from the system. The
module is a mix of theory and practical work. You will engage in a collaborative project working alongside students
from the School’s BA (Hons) Music Production and BMus (Hons) Popular Music Performance courses.
Module Aims

To have a firm grasp of the essential concepts and techniques involved within a typical recording
environment.

To plan, setup and execute practical recording sessions.
37
Indicative Study Topics

Microphone application and placement.

Cabling & connection.

Digital audio theory and application.

Recording principals.

Audio recording within a DAW environment.

Project management, trouble shooting and storage mediums.
Teaching & Learning Methods
The component parts of the module will be delivered in small groups in a combined lecture/workshop format. The use
of technology as a teaching tool will be included in the module. Concepts will be explained and demonstrated using
appropriate media such as software and hardware examples, classroom whiteboard, audio recordings, references to
hand outs and web URL’s. Students will be required to form collaborative groups and plan, manage and execute group
portfolio work alongside students from the School’s BA (Hons) Music Production. Performance students from the
School’s BMus (Hons) Popular Music Performance courses will feature in the recordings. Tutorial opportunities exist
Learning Outcomes
On completion of this module a successful student will be able to:
1. Demonstrate a solid understanding in the use and application of microphones.
2. Evaluate digital audio theory and successfully implement digital audio traits within a contemporary Digital
Audio Workstation.
3. Construct multi track recordings of live audio signals within a contemporary Digital Audio Workstation.
4. Plan, manage and execute a group work based recording portfolio and trouble shoot basic problems with
limited support.
Assessment
No
Summative Assessment
Method
Length
Learning
Outcomes
Addressed
1, 2
Assessment
Weighting
Assessment
Week
1
Written exam.
15-30
mins
30%
10
2
Individual mix down
artefact.
3-5 mins
1, 2, 3, 4
50%
30
3
Recording diary.
1000
word
critique
1, 2, 3, 4
20%
30
38
Assessment Brief
Your work will be assessed according to the below schedule:
1. You will be required to engage in a short written exam that requires you to document various concepts based
around microphone, digital audio and recording based idioms. The tasks will be based upon content covered from
weeks 1-9. This will occur on site under TMS examination conditions. More details will be made available during class time.
2. You will be required to engage in group work to record a piece of music using industry standard recording
hardware and software. Working in groups selected from students on the BA (Hons) in Music Production and/or
the BA (Hons) in Song Writing, you must record a song (original or cover version) with performers staffed from the
School’s BMus (Hons) in Popular Music Performance. In week 20 you will present you ‘work in progress’ to your
tutor and receive feedback. More details will be made available during class time. In week 30 each student must
submit an individual portfolio that contains a final mix down (performed individually) of the group recordings.
Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See
the student handbook for more details. The portfolio will be assessed for two modules on the BA (Hons) Music
Production and/or the BA (Hons) Songwriting. For the ‘Recording Skills’ module the submission will asses aspects
such as the recording quality, sonic character, microphone application, arrangement, performance, instrumental
parts and overall composition (if applicable). For the ‘Mixing & Audio Production 1’ module (or the ‘Music
Technology for Song Writers 1’ module depending on Programme studied) aspects of sonic detail, balance, audio
editing skill, audio aesthetic and general production are assessed. More details will be made available during class
time.
3. Each student must also include within their portfolio an individually authored 1000 word (circa +/- 10%) recording
diary detailing the recording process, the hardware utilised, techniques employed, approach to sonic quality
undertaken and procedures followed. A breakdown of the group’s roles during the recording process must be
included, supported by photographic evidence documenting the techniques used during the recording session.
Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS
VLE. See the student handbook for more details.
39
Assessment Criteria
Outcome
Students will be assessed
on their ability to:
Assessment
method
1. Demonstrate a solid
understanding of the
functioning principles of
microphones.
Select and use applicable microphone
techniques with flair within a recording
portfolio.
Assessment feedback will be
subdivided into areas such as:
 Sonic Quality.
 Microphone Application.
 Creative Recording
Techniques.
Written exam.
Individual mix
down artefact.
Recording diary.
2. Evaluate digital audio theory
and successfully implement
digital audio traits within a
contemporary Digital Audio
Workstation.
Select, appraise and use applicable
digital audio traits within a Digital
Audio Workstation.
 Sonic Quality.
 Digital Audio Configuration.
Written test.
Individual mix
down artefact.
Recording diary.
3. Construct multi track
recordings of live audio signals
within a contemporary Digital
Audio Workstation.
Record live performances within a
DAW environment.
 Sonic Quality.
 Creative Recording
Techniques.
 DAW Technique.
Individual mix
down artefact.
Recording diary.
4. Plan, manage and execute a
group work based recording
portfolio and trouble shoot
basic problems with limited
support.
Manage & deliver a project that
features a cohesive recorded artefact.
 Project Management.
 Presentation.
 Data Management.
Individual mix
down artefact.
Recording diary.
40
Reading List
Core texts:
Lesson material provided by TMS.
Additional texts:
Bartlett, B. (2008) Practical Recording Techniques: The Step- by- Step Approach to Professional Audio Recording,
London: Focal Press
Franz, D. (2008) Recording and Producing in the Home Studio, New York: Hal Leonard Corporation
Huber, D. (2009) Modern Recording Techniques. London: Focal Press.
th
Howard, D. & Angus, J (2009) Acoustics and Psycho-acoustics, 4 ed. London: Focal Press
Owsinski, B. (2009) The Recording Engineer’s Handbook. New York: Music Sales
Limited.
Koryat, K. (2008) Guerilla Home Recording: How to Get Great Sound from Any Studio. New York: Hal Leonard.
Rumsey, F. & McCormack, T. (2009) Sound and Recording, London: Focal Press
Journals / Magazines:
Audio Media. MAS Publishing.
Resolution. S2 Publishing.
Sound on Sound. Future Publishing.
Tape Op. Independently published.
The Mix. Future Publishing.
Web Sites:
Audio Engineering Society. Available at: http://www.AES.org
Audio Forum. Available at: http://audioforum.termpro.com/cgi-bin/ubb/ulimate.cgi
Gearslutz forums. Available at: http://www.gearslutz.com/board/
ProSoundWeb forums. Available at: http://www.prosoundweb.com/forums/
Recording dot org. Available at: http://recording.org/forum.php
Tape Op Message Board. Available at: http://messageboard.tapeop.com/
41
TMSSW401: Songwriting 1
Key Information
Course:
Module Code:
TMSSW401
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Leader: Yak Bondy
Tutors: Yak Bondy
Module Summary
As an essential skill for any artist, music producer or creative musician, songwriting empowers the individual to
develop important musical and lucrative skills sets. You will study and develop the fundamental skills of writing original
songs covering aspects such harmonic progression, melodic contour, lyric creation, rhythmic lyric structure and song
form. Through studying tools and techniques you will learn to write melodies, how melodic rhythm influences rhyme
and the dynamic relationships between melody and harmony. Analysis of popular songs provide a robust approach to
learning this craft. With an emphasis on originality and creativity, students from the School’s BA (Hons) Songwriting
course will study alongside students from the School’s BA (Hons) Music Production.
Module Aims

To diagnose, evaluate and apply songwriting techniques within a portfolio of self authored work.

To begin to build a portfolio of self authored songs with limited independence.
42

Composer and song analysis.

Rhythm and pulse.

Melodic contour and harmonic progression.

Stable and unstable tones.

Phrase length, balance and symmetry.

Harmony and melody dynamic.

Lyric creation and lyrical rhythmic structure.

Song structure and form.

Project management, trouble shooting and creativity.
appropriate media such as musical examples, classroom whiteboard, audio recordings, references to hand outs and
web URL’s. Practical workshops will occur within suitably equipped rooms for relevant sections of the module. Tutorial
opportunities exist whereby students can explore portfolio concepts with their tutor(s).
Learning Outcomes
1. Identify, evaluate and successfully implement songwriting techniques within a portfolio of original material
under guidance.
2. Construct a portfolio of original contrasting songs with an emphasis on creativity.
3. Plan, manage and execute a portfolio of original songs and trouble shoot basic problems with limited support.
43
Assessment
No
Summative
Assessment Method
Length
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
1
Song performance.
3-5 mins
+ 200
word
supportive
statement
30%
10
2
Song performance.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
30%
20
3
Song performance.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
40%
30
Assessment Brief
1. Assessment one features the performance of one original song. In week 5 you must submit a framework for the
song that will eventually be developed across the remainder of term one to represent the completed song for final
assessment. The framework must consist of lyrics, top line melody and rhythm and encapsulate at least two
elements of a song structure (i.e. verse to chorus). More details will be made available during class time. The song
in the final submission must feature at least melody, harmony, rhythm & lyrics based within the popular music
idiom. Each student must engage in working with a tutor managed pool of session musicians supplied by School’s
BMus (Hons) in Popular Music Performance and deliver a performance of the songs in week 9. This engagement
will involve the creation of lead sheets and (with tutor guidance) MD the band to be able to deliver an in School
performance. Attention to detail should be placed on the song form/structure, lyrically content, harmonic
progression, melodic contour and harmonic and melodic dynamic. The performance guidance will be delivered
under supervision from your tutor and the assessed emphasis is placed on song craft, not performance. You must
also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work,
and expands upon the any salient features or specific techniques you have employed. Journalistic writing is
acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student
handbook for more details.
2. Assessment two features the performance of one original song that features a different musical convention (i.e.
harmonic progression, melodic & rhythmic content etc) from assessment one. In week 15 you must submit a
framework for the song that will eventually be developed across the remainder of term two to represent the
completed song for final assessment. The framework must consist of lyrics, top line melody and rhythm and
encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made available
during class time. The song in the final submission must feature at least melody, harmony, rhythm & lyrics based
within the popular music idiom. Each student must engage in working with a tutor managed pool of session
musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of the
songs in week 19. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band
44
to be able to deliver an in School performance. Attention to detail should be placed on the song form/structure,
lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The performance
guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on song craft,
not performance. You must also submit a supporting statement (200 words circa +/- 10%) that documents the
steps taken to create your work, and expands upon the any salient features or specific techniques you have
employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to
the TMS VLE. See the student handbook for more details.
3. Assessment three features the performance of one original song that features a different musical convention (i.e.
harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. In week 25 you
must submit a framework for the song that will eventually be developed across the remainder of term three to
represent the completed song for final assessment. The framework must consist of lyrics, top line melody and
rhythm and encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made
available during class time. The song in the final submission must feature at least melody, harmony, rhythm &
lyrics based within the popular music idiom. Each student must engage in working with a tutor managed pool of
session musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of
the songs in week 29. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the
band to be able to deliver an in School performance. Attention to detail should be placed on the song
form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The
performance guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on
song craft, not performance. You must also submit a supporting statement (200 words circa +/- 10%) that
documents the steps taken to create your work, and expands upon the any salient features or specific techniques
you have employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file
delivered to the TMS VLE. See the student handbook for more details.
45
Assessment Criteria
Outcome
Assessment
method
1. Identify, evaluate and
successfully implement
songwriting techniques within
a portfolio of original material
under guidance.
Identify and execute songwriting
techniques within a portfolio of original
material.
 Melodic Contour.
 Harmonic Progression.
 Harmony & Melody Dynamic.
 Lyrical Aesthetic.
 Rhythmic Structure.
Song
performance.
2. Construct a portfolio of original
contrasting songs with an
emphasis on creativity.
Deliver a small repertoire of
contrasting original material that
demonstrates a strong sense of
creativity.
 Creativity.
 Musical Aesthetic.
Song
performance.
portfolio of original songs and
trouble shoot basic problems
features a cohesive artefact.
 Presentation.
 Creativity.
Song
performance.
46
Reading List
Core texts:
Additional texts:
Barlett, B (2003) Bartlett's Roget's Thesaurus London: Little, Brown & Company
Blume, J. (2008) Six Steps to Songwriting Success: The Comprehensive Guide to Writing and Marketing Hit Songs
USA: Billboard
Davis, S. (1992) The Songwriter's Idea Book. London: Omnibus Press
Feist, J Ed (2008) Songwriter's Workshop: Melody New York: Hal Leonard Corporation
Kachulis, J (2008) Songwriter's Workshop: Harmony New York: Hal Leonard Corporation
No Author Stated. (2004) Idioms - Dictionary for Learners of English. Oxford University Press
Pattison, P (1991) Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics New
York: Hal Leonard Corporation
Pattison, P (1992) Songwriting: Essential Guide to Rhyming New York: Hal Leonard Corporation
nd
Pattison, P (2010) Writing Better Lyrics 2 edn. New York: F+W Media
Perricone, P. (2000) Melody in Songwriting. USA: Berklee Press Publications
Sullivan, P. (2004) Sullivan’s Music Trivia. New York: Arcane/Sanctuary Publishing Ltd.
Stople, A. (2008) Popular Lyric Writing: 10 Steps to Effective Storytelling. USA: Berklee Press Publications
Wood, C (1992) Complete Rhyming Dictionary London: Bantam Doubleday Dell Publishing Group
Journals/Magazines:
American Songwriter. American Songspace
Latimer, Len Songwriter Magazine. Own Publication
Songwriting and Composing. The Guild of International Songwriters & Composers
Websites:
ISA International Songwriters Association Available at: http://www.songwriter.co.uk/
Independent Songwriter Web Magazine Available at: http://www.independentsongwriter.com
Songwriter Universe Available at: http://www.songwriteruniverse.com/magazine.html
47
TMSSW402: Song Stylistics
Key Information
Course:
Module Code:
TMSSW402
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Leader: tbc
Tutors: tbc
Module Summary
Most successful writers working within the industry not only have developed their own unique personal approach to
writing but they also have a robust understanding of working in a myriad of styles. This module gives you the
opportunity to explore specific composition and arranging techniques when working in a wide range of genres. Not
only will this allow you to more fully understand the mechanics of songwriting but it will also provide you with a
heightened ability when working within your own favourite style.
Module Aims

To identify and apply songwriting techniques when working within a specific stylistic brief and to maintain
originality throughout.

To critique, appraise and justify the use of a myriad of songwriting techniques applied when working within
a stylistic portfolio of songs.
48

Stylistic analysis.

Harmonic & melodic stylistic conventions.

Rhythmic conventions.

Lyrical facets when working within a style.

Selecting and applying stylistic conventions.

Working to a brief.

Maintaining originality.

Critique and justification.

Learning Outcomes
1. Identify stylistic song traits utilised within the pop music idiom.
2. Apply a myriad of appropriate songwriting techniques when constructing original material to a stylistic brief.
3. Appraise and justify a selection of songwriting traits utilised within a stylistic brief.
4. Plan, manage and execute a portfolio of original songs constructed to a stylistic brief and trouble shoot
problems with limited support.
49
Assessment
No
Method
Length
1
Stylistic analysis.
1000
word
critique
2
Song performance.
3-5 mins
x2
artefacts
Learning
Outcomes
Addressed
1, 3
Assessment
Weighting
Assessment
Week
40%
20
2, 4
60%
30
Assessment Brief
1. You will be required to submit a 1000 word critique (circa +/- 10%) of two stylistically contrasting songs (i.e.
different genres) from within the same style and provide analyse of the songwriting techniques utilised. Your
work should provide a breakdown of the musical aesthetic of the pieces, their rhythmic properties, their song
form and structure, aspects of harmonic progression and melodic contour, the dynamic relationship between
harmony and melody and the lyrical content. Journalistic writing is acceptable but referencing is expected.
Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.
2. Assessment two features the submission of a portfolio of two contrasting original songs, written to a brief.
Early in term one your tutor will give you a list of ‘specifications’ from which you can select from. Your artefact
needs to conform to the overarching brief that you have selected (i.e. RnB, Blues, Country, Rock etc). In week
10 you must submit a framework for one of the song’s that will eventually be developed across the terms to
represent part of the portfolio of two completed songs for the final assessment. The framework must consist of
lyrics, top line melody and rhythm and encapsulate at least two elements of a song structure (i.e. verse to
chorus). More details will be made available during class time. The framework should be utilised for one of the
songs for the final submission but there is scope of adaptation and alteration of their content from the week 10
submission. Each song in the final submission must feature at least melody, harmony, rhythm & lyrics based
musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of both
songs in week 30. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the
band to be able to deliver an in School performance. Attention to detail should be placed on the musicality of
the piece and the stylistic convention covering aspects such as tonal phrases, dynamic and pulse, structure,
lyrically content, harmonic progression and harmonic and melodic dynamic. The performance guidance will be
delivered under supervision from your tutor and the assessed emphasis is placed on song craft, not
performance.
50
Assessment Criteria
Outcome
Assessment
method
1. Identify stylistic song traits
utilised within the pop music
idiom.
Assess stylistic songwriting traits
utilised within pop formats.
 Critique.
 Musical Analysis.
 Research.
 Literacy.
 Presentation.
Stylistic analysis.
2. Apply a myriad of appropriate
songwriting techniques when
constructing original material
to a stylistic brief.
Construct a stylistic appropriate song
portfolio.
 Stylistic Aesthetic.
 Brief Convention.
 Tonality & Melody.
 Harmonic and Melodic
Dynamic.
 Structure & Form.
Song
performance.
3. Appraise and justify a
selection of songwriting traits
utilised within a stylistic brief.
Present a critique of externally
authored work.
 Critique.
 Research.
 Literacy.
 Presentation.
Stylistic analysis.
portfolio of original songs
construct to a stylistic brief and
trouble shoot problems with
limited support.
Song
performance.
51
Reading List
Core texts:
Additional texts:
Hodkinson, P & Bennet, A. (2012) Ageing and Youth Cultures: Music, Style and Identity. New York: Berg Publishers
Powell, J. (2012) Music, Fashion and Style. London: Franklin Watts
Said, E.W. (2007) On Late Style: Music and Literature Against the Grain. London: Bloomsbury
Horn, D & Shepherd, J. (2013) Continuum Encyclopedia of Popular Music of the World. London: Continuum
Journals/Magazines:
Echoes - Black Music Monthly. Bluespot Network
Froots - The Essential Folk, Roots and World Music Guide. Southern Rag
Jazzwise. Jazzwise Publications Ltd.
Kerrang. Bauer Media
Mojo. Bauer Media
NME. IPC Media
The Wire. The Wire Magazine Ltd.
Songlines. Songlines Publishing Ltd.
KMag. Phoenix Publishing
Websites:
Clash Music Available at: http://www.clashmusic.com/
Dazed Digital Available at: http://www.dazeddigital.com
i-D Online Available at: http://www.i-dmagazine.com
52
TMSSW403: Music Technology for Songwriters 1
Key Information
Course:
Module Code:
TMSSW403
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Leader: Johan Englund
Tutors: Johan Englund
Module Summary
This module explores the use of music technology with a focus on the Digital Audio Workstation. Mixing, digital audio
manipulation and processing will be explored with an emphasis on creativity and originality. This subject represents an
important assets of every writer’s tool box – the ability to self produce their own material. This module explores the use
of software idioms within music production with a focus on MIDI based systems. You will explore relevant platforms
utilised within the industry, with an emphasis on utilising these tools within a creative framework. Mixing, digital audio
manipulation and processing will be explored with an emphasis on creativity and originality. You will explore relevant
techniques utilised within the industry allowing you to build skill sets for further development at level 5 (year 2).
53
Module Aims

To provide a solid understanding of the basic concepts of MIDI sequencing software environments within
the music production idiom.

To provide a solid understanding of basic mixing techniques, their concepts and application.

To exercise musical creativity via audio editing techniques.

MIDI sequencing techniques.

Virtual instruments.

MIDI protocol and editing.

Digital audio editing and manipulation.

Creating a mix down artefact.

Being creative within a software environment.

of technology as a teaching tool will be included in the module. Each student will have access to their own Apple Mac
workstation running industry standard hardware and software (when appropriate). Overhead projection will be used to
deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using
hand outs and web URL’s. A portion of each week’s class will be reserved as a workshop whereby students can
explore and develop skills on their individual workstation under tutor supervision. The workshops will allow students to
build confidence across the course of the semester.
Learning Outcomes
1. Apply sequencing techniques within a software environment.
2. Perform musically applicable edits upon digital audio content.
3. Develop a creative approach to mix down schematics.
4. Plan, manage and execute a music production artefact and trouble shoot basic problems with limited support.
54
Assessment
No
Method
Length
Learning
Outcomes
Addressed
1
Assessment
Weighting
Assessment
Week
1
Practical exam.
15-30
mins
30%
10
2
Individual mix down
artefact.
3-5 mins
2, 3, 4
50%
30
3
Mixing critique.
1000
word
critique
2, 3, 4
20%
30
Assessment Brief
1. You will be required to engage in a short practical exam that requires you to complete a series of music
technology based tasks. The tasks will be based upon content covered from weeks 1-9. This will occur on site
under TMS examination conditions. More details will be made available during class time.
2. You will be required to engage in group work to record a piece of music using industry standard recording
hardware and software. Working in groups selected from students on the BA (Hons) in Music Production
and/or the BA (Hons) in Song Writing, you must record a song (original or cover version) with performers
staffed from the School’s BMus (Hons) in Popular Music Performance. In week 20 you will present you ‘work
in progress’ to your tutor and receive feedback. More details will be made available during class time. In week
30 each student must submit an individual portfolio that contains a final mix down (performed individually) of
the group recordings. Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to the TMS
assessment server. See the student handbook for more details. The portfolio will be assessed for two modules
on the BA (Hons) Music Production and/or the BA (Hons) Songwriting. For the ‘Recording Skills’ module the
submission will asses aspects such as the recording quality, sonic character, microphone application,
arrangement, performance, instrumental parts and overall composition (if applicable). For the ‘Mixing & Audio
Production 1’ module (or the Music Technology for Songwriters 1’ module depending on Programme studied)
aspects of sonic detail, balance, audio editing skill, audio aesthetic and general production are assessed.
More details will be made available during class time.
3. Each student must also include within their portfolio an individually authored 1000 word (circa +/- 10%) mixing
critique detailing the mixing process, the hardware utilised, mixing techniques employed, audio editing
undertaken and procedures followed. A breakdown of the mixing process must be included, supported by
photographic evidence and/or screen grabs documenting the techniques used during the mixing session.
Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the
TMS VLE. See the student handbook for more details.
55
Assessment Criteria
Outcome
Assessment
method
1. Apply sequencing techniques
within a software environment.
Construct applicable sequencing and
techniques with flair within a software
environment.
 Sequencing Techniques.
 MIDI Region Manipulation.
 Creative Interpretation.
 MIDI Data Editing.
Practical exam.
2. Perform musically applicable
edits upon digital audio
content.
Perform and execute musically
appropriate edits upon digital audio
content.
 Audio Manipulation.
 Audio Editing Techniques.
Individual mix
down artefact.
Mixing critique.
3. Develop a creative approach
to mix down schematics.
Construct musically applicable mixes
with flair.
 Mix Aesthetic.
 Creative Application.
Individual mix
down artefact.
Mixing critique.
music production artefact and
features a cohesive musical artefact.
 Problem Solving.
 Presentation.
Individual mix
down artefact.
Mixing critique.
56
Reading List
Core texts:
Additional texts:
Izhaki, R. (2007) Mixing Audio: Concepts, Practices and Tools. London: Focal Press.
Gibson, D. (2008) The Art of Mixing: A Visual Guide to Recording, Engineering and Production, 2
nd
ed. New York:
artistpro.com LLC
Massey, H. (2000) Behind the Glass. San Francisco: Backbeat Books.
Massey, H. (2009) Behind the Glass 2. San Francisco: Backbeat Books.
Moylan, W. (2007) Understanding and Crafting the Mix: The Art of Recording, 2
nd
ed. London: Focal Press.
Owsinski, B. (2006) The Mixing Engineer’s Handbook. New York: Music Sales Limited.
Senior, M. (2011) Mixing Secrets for the Small Studio. London: Focal Press
Journals/Magazines:
MusicTech - Anthem Publishing Ltd.
Sound On Sound. SOS Publications Group
FutureMusic. Future Publishing Ltd.
Electronic Musician. New Bay Media
Websites:
AudioTechnology Available at: http://www.audiotechnology.com.au/
Mix - Professional Audio and Music Production Available at http://www.mixonline.com/
57
TMSSW404: Musicianship
Key Information
Course:
Module Code:
TMSSW404
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Lectures: 2 x 1 hour lectures per week for 27 weeks (54 hours)
Personal Development Time: 145 hours
Module Leader: Richard Lightman
Tutors: Richard Lightman / Glen Rayner
Module Summary
Musicianship supports the development of skills in key areas: music theory, ear training, production analysis and song
analysis. In theory and ear training classes you will consider key theoretical concepts and their application in popular
music including interval and chord identification and harmony, rhythm and pulse and chord/scale relationships. You will
also study concepts of production aesthetic in order to develop your own production style and song analysis that
allows the development of songwriting skills via the critique of commercial material. You will study alongside students
from the School’s BA (Hons) Music Production or the School’s BA (Hons) Songwriting. All disciplines will benefit from
the study of these subjects as they provide a framework for developing creative musical aspects such as songwriting
alongside developing the musical communication skills necessary as an artist, creative musician or music producer.
These concepts are expanding upon at level 5 in the ‘Arranging’ module, which explores orchestration, arranging and
instrumentation.
58
Module Aims

To create a solid grounding in music theory which will support the student’s technical, theoretical and creative
development throughout the course.

Assemble a range of critical listening skills that instil the ability to critique a variety of songwriting and music
production techniques.

Key signatures, intervals, major/minor scales.

Rhythm, pulse and meter.

Modes and harmonised scales.

Chord substitutions.

Basic transcription.

Critical listening.

Genre based song analysis.

Production based song analysis.

Sonic and musical aesthetic critique.
The module will be delivered in small groups in a combined lecture/workshop format. Concepts will be explained and
demonstrated using appropriate media such as classroom whiteboard, audio recordings, and references to hand outs.
Student interaction will be encouraged in the form of discussions and Q&A. Assignments will be set during class time
and for homework. During class-based assignments the tutor will spend time with individual students and give
feedback. Students will also be encouraged to evaluate their and their colleague’s work under guidance by the tutor.
Advice will also be given on time management and employing effective study/practice routines.
59
Learning Outcomes
1. Demonstrate an understanding of key theoretical concepts by constructing basic musical structures in a limited
timeframe.
2. Analyse and interpret basic musical structures in a limited timeframe.
3. Identify and provide critique upon a myriad of music production techniques and their role within the aesthetic
4. Identify and provide critique upon a myriad of songwriting techniques and their role within the aesthetic of the
studied material.
Assessment
No
Summative
Length
Assessment Method
Learning
Assessment
Assessment
Outcomes
Weighting
Week
1, 2
30%
19
1, 2
30%
29
3, 4
40%
29
Addressed
1
Theory & Aural
1 hour
assessment.
timed
assessment
2
Theory & Aural
1 hour
assessment.
timed
assessment
3
Song and Production
1500 words
Critique.
Assessment Brief
Your group work will be assessed according to the above schedule.
1. In week 19 you will be required to sit a written Theory & Aural exam to demonstrate understanding of the
subject material covered during weeks 1-19. This will occur on site under TMS examination conditions. More
details will be made available during class time.
2. You will be required to sit a written Theory & Aural exam to demonstrate understanding of the subject material
covered during weeks 1-29. This will occur on site under TMS examination conditions. More details will be
made available during class time.
60
3. Assessment three features the submission of a 1500 word (circa +/- 10%) critique investigating the musical
output of one piece of work from the repertoire of a commercial music producer (i.e. Phil Spector) and the
musical output of one piece of work from repertoire of a commercial songwriter (i.e. John Lennon). During
class time a list of individuals that you may critique will be distributed. Place attention to detail within your
critique upon aspects such as production, recording and mixing technique(s), the sonic aesthetic to the
piece(s), songwriting and composition technique(s), lyrical content, harmonic progression, rhythmic structure,
melodic contour, harmonic and melodic dynamic, performance traits and emotional expression. Journalistic
writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See
the student handbook for more details.
Note for marking of A1 & A2
Due to the nature of the subject material, assignments will be marked according to a pre-determined template that has
been prepared in line with teaching and learning methods throughout the course. Each component of the assessment
will therefore only produce a correct or incorrect answer. The number of correct answers will then be accumulated to
give a percentage score
61
Assessment Criteria
Outcome
Assessment
method
Answer given exam questions that
Theory & Aural
of key theoretical concepts by
highlight fundamental areas of music
assessment)
constructing basic musical
theory and ear training.
1. Demonstrate an understanding
structures in a limited
timeframe.
2. Analyse and interpret basic
Answer given exam questions that
Theory & Aural
musical structures in a limited
highlight fundamental areas of music
assessment.
timeframe.
theory and ear training.
3. Identify and provide critique
Investigate and provide critique on the
Song and
upon a myriad of music
working techniques and methods of a
Production
production techniques and
selected producer.
Critique.
their role within the aesthetic
4. Identify and provide critique

Content.

Analysis.

Literacy.

Referencing.

Bibliography.

Presentation.
Investigate and provide critique on the
Song and
upon a myriad of songwriting
working techniques and methods of a
Production
techniques and their role
selected songwriter.
Critique.
within the aesthetic of the
studied material.

Content.

Analysis.

Literacy.

Referencing.

Bibliography.

Presentation.
62
Reading List
Core texts:
Additional texts:
Stewart, D. (2006) The Musicians guide to reading and writing music. New York: Backbeat Books
Stewart, D. (2000) The Musicians guide to Composition, Improvisation and the Mechanics of Music. New York:
Backbeat Books
Taylor, E. (1989) The AB Guide to Music Theory Part 1 (and Part 2) London: Associated Board
Wyatt, K. and Schroeder, C. (1998) Harmony & Theory. London: Hal Leonard.
Journals/Magazines:
Journal of Music Theory. Duke University Press
Websites:
Musicians Together Available at: http://musicianstogether.com
63
TMSMB403: Music Industry Landscape
Key Information
Course:
BA (Hons) Music Business
BMus (Hons) Popular Music Performance
Module Code:
TMSMB403
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Leader: Harry Leckstein
Tutor(s): Harry Leckstein
Module Summary
The module gives you the opportunity to study the fundamental aspects of the music industry. The aim of this module
is to for you to have an understanding of the historical and contemporary structure of the music industry including
learning the roles of key stakeholders and providers within it and how those roles are constantly adapting to market
pressures brought about by advances in new technology. Treating the industry as a set of related smaller
organisations and structures this module studies aspects such as the facilitating of licensing, marketing, promotion,
distribution, selling and production of music related product. You will learn to apply study skills, basic research and
academic writing techniques. You will study alongside students from the School’s BA (Hons) Music Production and BA
(Hons) Songwriting courses.
64
Module Aims

To provide the student with a comprehensive and thorough examination of the historical and contemporary
landscape of the music industry and to identify the key stakeholders and providers within the industry.

To identify what roles stakeholders embody within the industry and how they interconnect to form a seamless
food chain from artist to consumer through multiple media formats.

To develop a solid understand of academic writing conventions and apply these to a written case study.

The historical evolution of music as an industry.

The food chain of production, distribution, marketing and sales.

Sales and distribution of recorded media.

Promotion of recorded media, live performance and live events.

Major and independent record label structure.

Royalty collection and distribution.

Financial flow through the music industry.

Publishing – the mechanics and the variables.

The role of new technologies within the music industry.

Artist and Repertoire and the production of new artists and media.

Social, political and cultural impact of music.

Academic writing conventions.

The Harvard Convention

Citations and bibliographies.

Presenting your written work.
The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range
of teaching methods including seminars, tutorials, group-work (including presentations) and computer-assisted
learning with be utilised. There will be an opportunity for you to discuss and analyse you own examples and research.
The use of technology as a teaching tool will be included in the module. Overhead projection will be used to deliver
lecture content via tutor authored E-Learning tools (when appropriate). Concepts will be explained and demonstrated
using appropriate media such as theoretical examples, classroom whiteboard, audio recordings, references to hand
outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasize
application of content.
You will examine the development, structure, roles and functions of the music industry and the history of the formation
of national and international companies and the roles of key external agencies through a series of lectures. You will
undertake lecturer-monitored research to investigate examples of contemporary industry practice and which will form
the basis of seminar presentations and discussion. The strategy is for learning to become less prescriptive as the
module progresses and for you to develop critical autonomy via independent work and enquiry-based learning.
65
Students will be set weekly research-based tasks as preparation for a formative assessment. Class-based critical
analysis, presentation and discussion within a seminar environment will occur and tutors will provide feedback on the
work presented.
Learning Outcomes
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.
Assessment
No
Assessment
Method
Length
Learning
Outcomes
Addressed
4
Assessment
Weighting
Formative/
Summative
Assessment
Week
1
Study skills
exam.
30 min
exam
10%
Summative
10
2
Written exam.
1.5
hour
exam
2, 3
50%
Summative
20
3
Essay.
1000
words
1, 4
40%
Summative
30
66
Assessment Brief
Your group work will be assessed according to the below schedule:
1. In week 10 you will be required to sit a short exam based on aspects of academic writing, research,
referencing and study skills that are studied in weeks 1-9. This will occur on site under TMS examination
conditions. More details will be made available during class time.
2. You will be required to sit a written exam to demonstrate understanding of the subject material covered during
weeks 1-19. This will include analysis of the work of key external agencies that have an active role within the
industry and to evaluate the importance of copyright in the industry. This will occur on site under TMS
examination conditions. More details will be made available during class time.
3. Assessment three features the submission of a 1000 word (circa +/- 10%) case study investigating a
contemporary music industry organisation. During class time a list of suitable organisations will be discussed
by your tutor. Students will be set weekly research-based tasks as preparation for the assessment: classbased critical analysis, presentation and discussion within a seminar environment will occur and tutors will
provide feedback on the work presented. Place attention to detail within your case study upon aspects such as
role, organisational structure, influence, historical context, purpose and methodology of the organization within
its place in the music industry food chain. Your paper must follow standard academic conventions (i.e. third
person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See
the student handbook for more details.
67
Assessment Criteria
Outcome
Assessment
method
1. Analyse the internal structure,
operation and output of a
music organisation and
produce a well-structured case
study.
Identify the key structures of a major
music organisation.
 Analysis.
 Content.
 Critique.
 Literacy.
 Referencing.
 Bibliography.
 Presentation.
Essay.
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).
Diagnose and appraise the role of
key external agencies that exercise an
active role within the music industry
 Analysis.
 Content.
 Critique.
 Literacy.
 Presentation.
Written exam.
3. Evaluate the importance of
copyright as an economic
force underpinning the music
industry.
Illustrate the role and value of
copyright.
 Analysis.
 Content.
 Critique.
 Literacy.
 Presentation.
Written exam.
4. Engage in an appropriate level
of reading and research,
demonstrating appropriate
academic conventions.
Present an analysis of a music
industry organisation.
 Content.
 Literacy.
 Referencing.
 Bibliography.
 Presentation.
Study skills
exam.
Essay.
68
Reading List
Core texts:
Additional Texts:
(2004). The Music Management Bible. London: Sanctuary
(2011). The Unsigned Guide 2011 (UK Edition). Manchester: MCR Music
Ashurst, W. (2006). Stuff the Music Business: the DIY guide to making it London. Sanctuary
Bowden, G. Allen, J, O’Toole, W. (2010) Events Management. UK Butterworth-Heinemann
Bolles, R (2011). What Color Is Your Parachute? 2012: A Practical Manual for Job-Hunters and Career-Changers:
40th Anniversary Edition. London. Ten Speed Press
Conway, D. (2009) The Event Manager's Bible: The Complete Guide to Planning and Organising a Voluntary or Public
Event London, How To Books Ltd
Davis & Scase (2000). Managing Creativity. Oxford: Open University Press
Dobson, M. (2010) Creative Project Management. USA: McGraw-Hill Professional
Handy, C (1997). The Hungry spirit. London: Penguin
Handy, C, (2000). The Gods of Management. London: Penguin
Harrison, A. (2006). Music: The Business: The Essential Guide to the Law and the Deals. London: Virgin
Innes, J. (2009) The Interview Book: Your Definitive Guide to the Perfect Interview Technique London. Prentice Hall
Gammons, H (2011). The Art of Music Publishing: An entrepreneurial guide to publishing and copyright for the music,
film and media industries. USA: Focal
Godin, S, (1999). Permission Marketing: Turning Strangers Into Friends And Friends Into Customers. New York:
Simon & Schuster.
Godin, S, (2008). Tribes: We Need You to Lead Us. New York: Portfolio.
Goldstein, P. (1998). Copyright Highway. London: Routledge
Lathrop, T. (2003). This Business of Music Marketing & Promotion USA Billboard Books
Lees, J. (2010) How to Get a Job You'll Love 2011-2012 Edition. London McGraw-Hill Professional
Kao, J. (1998). Entrepreneurship, Creativity and Organisation. Prentice Hall
Kusek, D; Leonhard, G, (2005). The Future of Music: Manifesto for the Digital Music Revolution. New England: Berklee
Press
Mills, C. (2009) You're Hired! CV: How to write a brilliant CV London. Trotman
Napier-Bell, S (2007). Black Vinyl White Powder London: Ebury
Negus, K. (1999). Music Genres and Corporate Cultures. London: Routledge
Passman, D. (2007). All you need to know about the music business, UK Edition London: Penguin
Rudsenke, J.S, (2005). Start an Independent Record Label (Music Business Made Simple). New York: Schirmer
Books
Shemel, S. Gross, J. Krasilovsky, W. (2007) The Business of Music USA: Watson-Guptill
Shone, A. Pary, B (2010) Successful Event Management. UK CENGAGE Lrng Business Press
Shuker, R (2007). Understanding Popular Music Culture: UK Routledge
Wikstrom, P (2010). The Music Industry: Music in the Cloud (DMS - Digital Media and Society). Cambridge: Polity
B2B / Crowd Sourcing Websites:
Reverbnation Available at: http://www.reverbnation.com
Soncibids Available at: http://www.sonicbids.com
69
Spreadshirt Available at: http://www.spreadshirt.co.uk
Big Cartel Available at: http://bigcartel.com
Kickstarter: Available at: http://www.kickstarter.com
Pledge Music: Available at: http://www.pledgemusic.com
Sellaband: Available at: http://www.sellaband.com
Slicethepie: Available at: http://www.slicethepie.com
Music Blogs:
17 seconds Available at: http://www.17seconds.co.uk
Abeano Music Available at: http://www.abeano.com
Ankia in London Available at: http://www.anikainlondon.com
Bass Music Available at: http://www.bassmusicblog.com
Battery in your Leg Available at: http://batteryinyourleg.com
Bitter Fingers Available at: http://bitterfingers.net
Black Plastic Available at: http://www.blackplastic.co.uk
Breaking More Waves Available at: http://breakingmorewaves.blogspot.com
Cats band crushes Available at: http://www.catsbandcrushes.com
Chemisty is Dead Available at: http://thechemistryisdead.com
Crack in the Road Available at: http://www.crackintheroad.com
Devil has the Best Tuna Available at: http://besttuna.blogspot.com
Dots and Dashes Available at: http://www.dotsanddashes.co.uk
Dummy Available at: http://www.dummymag.com
Faded Glamour Available at: http://www.fadedglamour.co.uk
Flying with Anna Available at: http://flyingwithanna.wordpress.com
For Folk's Sake Available at: http://www.forfolkssake.com
Fucking Dance Available at: http://www.fuckingdance.blogspot.com
Hotcakes Available at: http://likehotcakes.net
Illegal Tender Available at: http://illegaltendermagazine.blogspot.com
Moleskin 90 Available at: http://moleskin90.blogspot.com
Music like Dirt Available at: http://www.musiclikedirt.com
Music Liberation Available at: http://www.musicliberation.blogspot.com
Pigeon Post Available at: http://thepigeonpost.wordpress.com
Put Me On It Available at: http://www.putmeonit.blogspot.com
Real Horrorshow Tunes Available at: http://horrorshowtunez.wordpress.com
Rich Hughes Available at: http://richardjlhughes.co.uk
Song by toad Available at: http://songbytoad.com
Swear I'm Not Paul Available at: http://www.swearimnotpaul.com
The Music Journal Available at: http://the-music-journal.blogspot.com
This Music Wins Available at: http://www.thismusicwins.com
Transparent Available at: http://www.transparentblog.com
We Write Lists Available at: http://www.wewritelists.com
Wears The Trousers Available at: http://www.wearsthetrousers.com
What's The Ruckus Available at: http://www.whatstheruckus.com
When you Awake Available at: http://whenyouawake.com
70
Newsletters:
Bilboard.biz Available at: http://www.billboard.biz
Brands Bands Fans Available at: http://www.brandsbandsfans.com
Holzman Solutions Available at: http://www.holzmansolutions.com
Mi2N Available at: http://www.mi2n.com
Musictank Available at: http://www.musictank.co.uk
Popbitch Available at: http://www.popbitch.com
Social Networking Websites:
2
nd
Life Available at: http://secondlife.com
Bandcamp Available at: http://bandcamp.com
Bebo Available at: http://www.bebo.com
Facebook Available at: http://www.facebook.com
Habbo Hotel Available at: http://www.habbo.com
Myspace Available at: http://www.myspace.com
Remotegoat Available at: http://www.remotegoat.co.uk
Soundcloud Available at: http://soundcloud.com
Twitter Available at: http://www.twitter.com
Wordpress: Available at: http://wordpress.org
71
Level 5
72
Key Information
Course:
Module Code:
TMSSW501
Module Level:
5
Module Credits:
20
Module type:
Depending on programme:
Mandatory: BA (Hons) Songwriting
Optional: BA (Hons) Music Production
Teaching & Learning
Module Leader: Victy SIlva
Tutors: Victy Silva
Module Summary
Song composition and development will be explored to a greater depth in this module that continues from previously
studied material. The module will focus on the advanced remit of traits such as creative approach, tonal phrases,
resolution, structure tones and embellishments, melodic placements, harmonic and melodic interplay and structure
variety. Exploring existing commercial material to a heightened level will provide a comparative backdrop to your own
work. Critique of musical work is an extremely important skill whether it is applied to your own output or that of others.
This module will allow you to build critical reflection skills that can be applied to your own portfolio, or that of your
peers, and therefore strengthen that material. Once again, you will study alongside students from the School’s BA
(Hons) in Songwriting course or the School’s BA (Hons) in Music Production.
73
Module Aims

To formulate a robust knowledge of song writing techniques utilised within the popular music idiom and to
exercise these techniques within a portfolio of work with creativity and flair.

To deliver a portfolio of self authored song material to a high standard, under limited guidance.

Advanced composer and song analysis.

Open and closed tonal phrases.

Stress an unstressed content.

Masculine and feminine.

Resolution.

Pivotal chord modulation.

Harmonic journeys and cadences.

Unmatched phrases.

Structure tones and embellishing tones.

Phrase acceleration & deceleration.

Melodic placements and pickups.

Structure fragmentation, symmetry and variety.

Critique and analysis.

Peer analysis and feedback.

Project management, troubleshooting and creativity.
74
Learning Outcomes
1. Appraise a myriad of songwriting techniques and apply them into a self constructed 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. Plan, manage and execute a portfolio of original songs and trouble shoot basic problems with limited support.
Assessment
No
Summative
Assessment Method
Length
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
1
Song performance.
3-5 mins
+ 200
word
supportive
statement
30%
10
2
Song performance.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
30%
20
3
Song performance.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
40%
30
Assessment Brief
1. Assessment one features the performance of one original song. In week 5 you must submit a framework for the
song that will eventually be developed across the remainder of term one to represent the completed song for final
assessment. The framework must consist of lyrics, top line melody and rhythm and encapsulate at least two
elements of a song structure (i.e. verse to chorus). More details will be made available during class time. The song
in the final submission must feature at least melody, harmony, rhythm & lyrics based within the popular music
idiom. Each student must engage in working with a tutor managed pool of session musicians supplied by School’s
BMus (Hons) in Popular Music Performance and deliver a performance of the songs in week 9. This engagement
performance. Attention to detail should be placed on the song form/structure, lyrically content, harmonic
progression, melodic contour and harmonic and melodic dynamic. The performance guidance will be delivered
under supervision from your tutor and the assessed emphasis is placed on song craft, not performance. You must
also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work,
and expands upon the any salient features or specific techniques you have employed. Journalistic writing is
75
acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student
harmonic progression, melodic & rhythmic content etc) from assessment one. In week 15 you must submit a
framework for the song that will eventually be developed across the remainder of term two to represent the
completed song for final assessment. The framework must consist of lyrics, top line melody and rhythm and
encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made available
during class time. The song in the final submission must feature at least melody, harmony, rhythm & lyrics based
musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of the
songs in week 19. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band
to be able to deliver an in School performance. Attention to detail should be placed on the song form/structure,
lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The performance
guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on song craft,
not performance. You must also submit a supporting statement (200 words circa +/- 10%) that documents the
employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to
harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. In week 25 you
must submit a framework for the song that will eventually be developed across the remainder of term three to
represent the completed song for final assessment. The framework must consist of lyrics, top line melody and
rhythm and encapsulate at least two elements of a song structure (i.e. verse to chorus). More details will be made
available during class time. The song in the final submission must feature at least melody, harmony, rhythm &
lyrics based within the popular music idiom. Each student must engage in working with a tutor managed pool of
session musicians supplied by School’s BMus (Hons) in Popular Music Performance and deliver a performance of
the songs in week 29. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the
band to be able to deliver an in School performance. Attention to detail should be placed on the song
form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic. The
performance guidance will be delivered under supervision from your tutor and the assessed emphasis is placed on
song craft, not performance. You must also submit a supporting statement (200 words circa +/- 10%) that
documents the steps taken to create your work, and expands upon the any salient features or specific techniques
you have employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file
delivered to the TMS VLE. See the student handbook for more details.
76
Assessment Criteria
Outcome
Assessment
method
1. Appraise a myriad of
songwriting techniques and
apply them into a self
constructed portfolio of original
material with limited support.
Assess and integrate songwriting
techniques into a robust body of work.
 Creative Approach.
 Tonal Phrases.
 Melodic Placement.
Interplay.
 Structural Form, Variety &
Resolution.
Song
performance.
2. Construct unique self-authored
musical material and further
build an identifiable repertoire
of original material, with an
emphasis on creativity.
Build content that reflects an individual
personal style.
 Tonal Phrases.
 Melodic Placement.
Interplay.
 Structural Form, Variety &
Resolution.
Song
performance.
.
portfolio of original songs and
 Presentation.
 Creativity.
Song
performance.
77
Reading List
Core texts:
Additional texts:
Edwards, M. (2011) Algorithmic Composition: Computational Thinking in Music London: Communications of the ACM
Kushner, D. (2010) Genius Composition Boston: Boston Magazine
Pattison, P (1991) Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics New
York: Hal Leonard Corporation
Pattison, P (1992) Songwriting: Essential Guide to Rhyming New York: Hal Leonard Corporation
Perricone, P. (2000) Melody in Songwriting. USA: Berklee Press Publications
Reynolds, T. (2005) I Hate Myself and Want to Die. London: Sanctuary
Zollo, P. (2003) Songwriters on Songwriting. New York: Da Capo
Journals/Magazines:
Film Music Magazine. Global Media
Music Analysis. Blackwell Publishing Ltd.
Websites:
The Guild of International Songwriters & Composers Available at: http://www.songwriters-guild.co.uk/
78
Key Information
Course:
Module Code:
TMSSW502
Module Level:
4
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Summary
Building upon previously explored concepts, Music Technology for Songwriters 2 further expands skill sets applicable
to music production via the study of advanced mixing traits, audio processing and mastering. Aspects such as multi
track mixing on a multitude of hardware and software platforms are further explored allowing you to develop your
mixing skills. Audio processing within the digital realm present the creative musician with many exciting opportunities.
These are exploited with an emphasis on creativity and originality. Mastering represents a key stage in the process of
music production and its aesthetics are discussed allowing you to successfully deliver a broadcast ready final artefact.
Module Aims

To further develop a cohesive, professional mix down artefact which exhibits mastering traits that are
suitable for broadcast platforms.

To implement advanced audio processing, editing and manipulation constructs with an emphasis on
originality and creativity.
79

Mixing: environments and techniques.

Audio processing.

Digital audio editing and manipulation for music projects.

Mastering for broadcast.

Industry protocols.

Learning Outcomes
1. Produce a high quality mix down artefact that has an emphasis on musical aesthetic.
2. Apply audio manipulation, editing and processing techniques with creativity.
3. Create broadcast ready mastered artefacts within industry standard protocols.
4. Plan, manage and execute both mix down artefacts and mastered artefacts and trouble shoot basic problems
80
Assessment
No
Method
Length
1
Deliver a final mastered
artefact.
3-5 mins
2
Production critique.
1500
word
critique
Learning
Outcomes
Addressed
1, 2, 3, 4
Assessment
Weighting
Assessment
Week
60%
30
1, 2, 3, 4
40%
30
Assessment Brief
1. You will be required to produce a piece of music and submit a mix down artefact generated using industry
standard recording hardware and software. The musical piece must be an original composition (from any genre)
which features a mix of sounds sourced from recordings of instruments and / or hardware and software
synthesizers and samplers. The final mix down artefact should also be mastered utilising industry protocols and
both the non-mastered and mastered version should be submitted. Submission is via two high quality digital audio
files (i.e. 16 bit dithered & 24 bit WAV) delivered to the TMS assessment server. See the student handbook for
more details. Consider attention to detail in the recording quality, arrangement, performance, instrumental parts
and overall composition (if applicable). Aspects of sonic detail, balance and audio aesthetic within the mix down
artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing traits.
2. Each student must also include within their portfolio an individually authored 1500 word (circa +/- 10%) production
critique detailing the mixing process, the hardware utilised, mixing techniques employed, audio editing undertaken
and mastering techniques utilised. Standard academic writing conventions are expected (i.e. third person
narrative, bibliography, referencing etc). Submission is via a PDF file delivered to the TMS VLE. See the student
81
Assessment Criteria
Outcome
Assessment
method
1. Produce a high quality mix
down artefact that has an
emphasis on musical
aesthetic.
Construct high quality, musically
aesthetic mix artefacts.
 Mix Aesthetic.
Creative Application.
Deliver a final
mastered
artefact.
Production
critique.
2. Apply audio manipulation,
editing and processing
techniques with creativity.
Edit, manipulate and process audio
data with flair and originality.
 Mix Aesthetic.
Deliver a final
mastered
artefact.
Production
critique.
3. Create broadcast ready
mastered artefacts within
Deliver broadcast ready final
mastered artefacts within industry
frameworks.
 Mix Aesthetic.
 Mastering Techniques.
Deliver a final
mastered
artefact.
Production
critique.
4. Plan, manage and execute
both mix down artefacts and
mastered artefacts and trouble
shoot basic problems with
limited support.
features a cohesive mastered artefact.
 Presentation.
Deliver a final
mastered
artefact.
Production
critique.
82
Reading List
Core texts:
Additional texts:
Katz, B. (2007) Mastering Audio. 2nd edition. New York: Focal Press.
Owsinski, B. (2007) The Mastering Engineer’s Handbook. New York: Music Sales
Limited.
Mixerman. (2011) Zen and the Art of Mixing. New York: Hal Leonard.
Stavrou, M. P. (2003) Mixing with your Mind: Closely Guarded Secrets of Sound Balance Engineering. Flux Research
Journals/Magazines:
Audio Media. New Bay Media
Music Analysis. Blackwell Publishing Ltd.
Websites:
Audio Pro International Available at: http://www.audioprointernational.com/
Songlink International Available at: http://www.songlink.com/
83
TMSSW503: Arranging
Key Information
Course:
Module Code:
TMSSW503
Module Level:
5
Module Credits:
20
Module type:
TMSSW404 Musicianship
Mandatory
Teaching & Learning
Module Leader: tbc
Tutors: tbc
Module Summary
Musical creativity is an important skill for many applications within the professional music industry. Arranging and
orchestration skills allow you to apply more musical colour & variety to any composition and are essential ingredients
for success. Covering these aspects, this module enables you to obtain musical skills that are essential when working
within creative idioms. You will study alongside students from the School’s BA (Hons) Music Production or BA (Hons)
Songwriting.
Module Aims

To consolidate an advanced knowledge of music theory and an ability to effectively analyse and
synthesise these concepts in a popular music context.

To comprehend a selection of arranging and orchestration traits and integrate them with a portfolio of self
authored work.
84

Analysis of theoretical concepts in popular music compositions.

Physical and technical aspects of writing for instruments.

Creating variety, placement of musical material within an ensemble.

Vocal arranging & harmonisation.

Study of stylistic conventions.
The component parts of the module will be delivered in small groups in a combined lecture/workshop format. Concepts
will be explained and demonstrated using appropriate media such as musical examples, classroom whiteboard, audio
recordings, references to hand outs and web URL’s. Practical workshops will occur within suitably equipped rooms for
relevant sections of the module. Tutorial opportunities exist whereby students can explore portfolio concepts with their
tutor(s).
Learning Outcomes
1. Apply advanced theoretical concepts to pre-defined compositions within a fixed timeframe.
2. Create an original arrangement using various standard professional techniques for a medium to large
ensemble within a fixed timeframe.
3. Produce a score for an arrangement, using correct notational conventions for a medium to large ensemble
within a fixed timeframe.
Assessment
No
Summative
Assessment Method
Length
1
Small Arrangement.
32 bar
minimum
2
Large Arrangement.
3-5 mins
+200
word
supporting
statement
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
30%
9
1, 2, 3
70%
29
85
Assessment Brief
1. You will be required to arrange a given piece (with set guidelines given in advance). The arrangement will be
based on the concepts and techniques covered during weeks 1-9. You must submit a full score. The score can be
created by hand (but is legible) or generated via appropriate software (i.e. Sibelius). More details will be made
available during class time.
2. You will be required to arrange a piece of music, with set guidelines given in advance. The arrangement will be
based on the concepts and techniques covered during weeks 1-29. You must also submit a full score and
supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and expands
upon the any salient features or specific techniques you have employed. The score can be created by hand (but is
legible) or generated via appropriate software (i.e. Sibelius). More details will be made available during class time.
Assessment Criteria
Outcome
Assessment
method
1. Apply advanced theoretical
concepts to pre-defined
compositions within a fixed
timeframe.
Produce an arrangement applying the
advanced theoretical concepts
covered.
Small
Arrangement.
Large
Arrangement.
2. Create an original
arrangement using various
standard professional
techniques for a medium to
large ensemble within a fixed
timeframe.
Produce an original arrangement for a
medium to large ensemble, using
techniques covered in the course.
Small
Arrangement.
Large
Arrangement.
3. Produce a score for an
arrangement, using correct
notational conventions for a
medium to large ensemble
within a fixed timeframe.
Create a score for a medium to large
ensemble following correct notational
conventions as covered in the course.
Small
Arrangement.
Large
Arrangement.
86
Reading List
Core texts:
Additional texts:
Adler, S. (2002) The Study of Orchestration. New York: W.W. Norton & Co.
Baker, D. (1985) Arranging and Composing For the Small Ensemble. Alfred Publishing Co.
Belkin, A. A Practical Guide to Musical Composition.
Black, D and Gerou, T. (1998) Essential Dictionary of Orchestration, New York: Alfred Pub Co.
Gerou, T and Lusk, L. (1996) Essential Dictionary of Music Notation, New York: Alfred Pub Co.
Harnsberger, L. C. (1976) Essential Dictionary of Music Definitions, New York: Alfred Pub Co.
Levine, M. (1995) The Jazz Theory Book. Sher Music.
Negus, K. Popular Music in Theory. Polity Press.
Sebesky, D. (1994) The Contemporary Arranger. Alfred Publishing Company.
Shuker, R. (1998) Popular Music – The Key Concepts. Routledge.
Wyatt, K. and Schroeder, C. (1998) Harmony & Theory. Hal Leonard.
Journals/Magazines:
Oxford Music Online. Oxford University Press
Red Bull Music Academy. Red Bull Music Academy
Websites:
American Society of Music Arrangers and Composers Available at: http://www.asmac.org/
FreeSound Available at: http://www.freesound.org/
pd Sounds Available at: http://www.pdsounds.org/
SoundBible Available at: http://soundbible.com/
Sound Effects Library Available at: http://sound-effects-library.com/
Sound Storm Available at: http://www.audionetwork.com/sound-effects
87
TMSMB504: Music Publishing and the Legal Framework
Key Information
Course:
Module Code:
TMSMB504
Module Level:
5
Module Credits:
20
None
Module type:
Mandatory
Teaching & Learning
Module Leader: Ian Mack
Tutor(s): Ian Mack
Module Summary
Publishing represents a core element of both a business entrepreneur and a songwriting professional’s work. This
module examines the administration and commercial music publishing of original material alongside a study of the
legal mechanics and functions of in the music industry. The module advocates the fundamental importance of the
control and exploitation of copyright and publishing. In this module you will study and analyse the historical
development and exploitation of the system of musical rights management, including intellectual property, mechanical
and non-mechanical publishing rights, related income streams and the associated collecting societies that exist to
retrieve and distribute royalties. You will also analyse the scope and roll of contracts, the internal structures, functions
and future development of specific music companies.
Module Aims

To analyse and interpret the many faceted roles of copyright and music publishing within music industry
frameworks.

To comprehend the scope and function of contracts within music publishing law.

Historical development of the creation of copyrighted work.

Structure and function of specific publishing houses.

Intellectual property.

Control and exploitation of publishing rights.

Collection agencies and their relationship with artists and publishing companies.

Musical supervision.
88

Synchronisation.

Self publishing.

Original scores for film, TV and games.

Publisher sales strategies.

Piracy.

Sampling and copyright clearance.

The digital paradigm and the future of copyright.

Music law & contract schematics.
outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasise
application of content.
You will examine the basic copyright law and examine the history of the formation of national and international
publishing companies through lectures through a series of lectures. You will be exposed to the working methods of
industry professionals, such as Copyright Lawyers, Music Publishers and Songwriters through a series of lecture and
seminar-based case studies. The strategy is for learning to become less prescriptive as the module progresses and for
you to develop critical autonomy via independent work and enquiry-based learning.
Students will be set weekly research-based tasks as preparation for a formative assessment. Class-based critical
analysis, presentation and discussion within a seminar environment will occur and tutors will provide feedback on the
work presented.
Learning Outcomes
1. Describe and evaluate historical changes in copyright law in the context of the UK music industry.
2. Evaluate basic copyright law and the format of relevant music industry based contracts, from a variety of
positions (e.g. performers, song writers, music publishers, music industry workers).
3. Evaluate the contemporary context of copyright and its relationship to a changing media environment.
4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework,
employing fundamental skills of primary and secondary research.
89
Assessment
No
Assessment
Method
Length
1
Written exam.
1.5 hour
exam
2
Case study.
1500
words
Learning
Outcomes
Addressed
1, 3
Assessment
Weighting
Formative/
Summative
Assessment
Week
40%
Summative
20
2,4
60%
Summative
30
Assessment Brief
Your group work will be assessed according to the below schedule:
1. In week 20 you will be required to sit a written exam to demonstrate understanding of the subject material
covered during weeks 1-19. This will contain a series of short answer questions on copyright law and
publishing rights. This will occur on site under TMS examination conditions. More details will be made
available during class time.
2. Assessment two features the submission of a 1500 word (circa +/- 10%) case study examining a student
sourced publishing company, with reference to its legal framework. You will be set weekly research-based
tasks as preparation for the assessment: class-based critical analysis, presentation and discussion within a
seminar environment will occur and tutors will provide feedback on the work presented. Place attention to
detail within your case study upon aspects such as the structure and function of the chosen company, the
intellectual property/clients they represent, the role, function and shape of contracts, the companies role within
the industry, the companies relationship with collection agencies/artists and/or publishing companies and the
companies working methodology in relation to copyright law. You paper must follow standard academic
conventions (i.e. third person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to
90
Assessment Criteria
Outcome
Assessment
method
1. Describe and
evaluate historical
changes in copyright
law in the context of
the UK music
industry.
Identify and appraise the copyright landscape
of the UK music industry.
Assessment feedback will be subdivided into
areas such as:
 Analysis.
 Content.
 Critique.
 Literacy.
 Presentation.
Written exam.
2. Evaluate basic
copyright law and the
format of relevant
music industry based
contracts, from a
variety of positions
(e.g. performers,
song writers, music
publishers, music
industry workers).
Define the role of copyright law and contractual
obligations within a myriad of positions.
areas such as:
 Analysis.
 Content.
 Critique.
 Literacy.
 Referencing.
 Bibliography.
 Presentation.
Case study.
3. Evaluate the
contemporary context
of copyright and its
relationship to a
changing media
environment.
Diagnose the relationship between
contemporary copyright and media trends.
areas such as:
 Analysis.
 Content.
 Critique.
 Literacy.
 Presentation.
Written exam.
4. Produce a wellstructured, critical
case study of a
publishing firm with
reference to its legal
framework,
employing
fundamental skills of
primary and
secondary research.
Present a solid analysis of the workings of a
music publisher firm.
areas such as:
 Analysis.
 Content.
 Critique.
 Literacy.
 Referencing.
 Bibliography.
 Presentation.
Case study.
91
Reading List
Core texts:
Additional Texts:
Gammons, H (2011). The Art of Music Publishing: An entrepreneurial guide to publishing and copyright for the music,
film and media industries. USA: Focal
Harrison, A. (2006). Music: The Business: The Essential Guide to the Law and the Deals. London: Virgin
92
TMSPERF505: Popular Music Culture
Key Information
Module Code:
TMSPERF505
Module Level:
5
Module Credits:
20
TMSMB403 Music Industry Landscape
Module type:
Mandatory
Course:
Teaching & Learning
Personal Development Time: 158.5 Hours
Tutors: Richard Lightman
Module Summary
This module examines the social and political conditions that influenced the development of genres in popular music
from 1900 to the present day by evaluating key releases from influential artists. Most professional musicians have an
in-depth understanding of the development of contemporary music and draw upon this knowledge in their own work.
Any artist hoping to produce work of substance must demonstrate a keen awareness and a deep appreciation of the
historical and social significance of past material. Students will analyse the growth of popular music from the turn of
the twentieth century to the present day. They will study the development of successive genres from delta blues and
early jazz onwards, and will explore the dynamic relationship between popular music, popular culture and social
change.
93
Module Aims

To examine significant moments in the evolution of popular music genres and place them with their
cultural, political, social and economic context.

To analysis the work of significant artists and identify their impact upon the development of popular music.

To determine the cultural impact of musical originality and creativity in the context of social and economic
history.
Students will examine the development of popular music genres through the practice of key artists in the context of
relevant economic, social and cultural developments:

Popular music and race, including the influence of African American music on mainstream popular music.

Technological change: how did the development of new technologies shape emerging genres in popular
music?

Popular music and gender, including the impact of key writers and performers.

Popular music and people’s beliefs: how have genres in music been influenced by prevailing religious
practices?

Popular music and historical events, including the impact of war and economic depression in twentieth
century popular music.
outs and web URL’s.
Formative assessment includes tutorial, tutor email feedback on draft essays, email negotiation of essay titles, Q&A
and discussion sessions in class.
94
Learning Outcomes
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.
Assessment
No
Length
1
Summative
Assessment
Methods
Short Essay
Assessment
Weighting
Formative/
Summative
Assessment
Week
1000 words
Learning
Outcomes
Addressed
1,2,3,4
25%
Summative
W10
2
Long Essay
3500 words
1,2,3,4
75%
Summative
W27
Assessment
1. Short Essay (1000 words) – Individual work
The essay title will be distributed during the module.
Demonstrate academic rigour by engaging with a wide range of literature, including peer reviewed journals and other
sources from the published reading list. All written submissions should be accompanied by a bibliography.
Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.
2. Long Essay (3500 words) – Individual work
Essay title will be distributed during the module.
Students are required to develop a clear and coherent written argument that employs a high level of analysis,
synthesis and evaluation to produce an informative piece of work.
Essays should be neatly presented and well-structured, discussing relevant issues and giving an informed argument.
Source material should demonstrate a thorough engagement with academic literature, including peer reviewed
journals. All written submissions should be accompanied by a bibliography. Submission is via a PDF file delivered to
95
Assessment Criteria
Outcome
Assessment
method
1. Understand the origin,
development and impact
of a range of significant
genres in popular music.
Demonstrate a detailed knowledge and
informed understanding of development of a
range of significant popular music genres.
Long Essay
Short Essay
2. Evaluate the relationship
between popular music
and social change.
Comment on the interaction between popular
music, key artists and important cultural and/or
social developments in the period
Long Essay
Short Essay
3. Understand the
contribution of a range of
key artists to the
development of popular
music from 1900 to the
present day.
Present a detailed evaluation of the
contribution of an important artist from the
period
Long Essay
Short Essay
4. Use academic resources
to evaluate the impact of
this artist in detail.
Demonstrate academic rigour by engaging with
a wide range of literature (including peer
reviewed journals and other resources on the
reading list)
Make informed references to influential work
from a key artist
Long Essay
Short Essay
Present fully referenced work accompanied by
a detailed and relevant bibliography.
96
Reading List
Core texts:
Additional Texts:
Baur, M. & Baur, S. (2004) The Beatles and Philosophy (Popular Culture and Philosophy) Open Court
Boucher, D. & Browning, G. (eds) (2004) The Political Art of Bob Dylan Palgrave Macmillan
Brothers, T. (2006) Louis Armstrong’s New Orleans London: WW Norton& Co
Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors London: Pimlico
Curtis, J. (1987). Rock Eras: Interpretations of Music and Society 1954 – 1984. Bowling Green: Bowling Green State
University Press
Frith, S. et al (2001) Cambridge Companion to Popular Music Cambridge: CUP
Guralnick, P. (1998) Searching for Robert Johnson: The Life and Legend of the “King of the Delta Blues Singers”
London: Plume Books
Inglis, I. (2000) The Beatles: Popular Music and Society London: St Martin’s Press
Macdonald I. (2005) Revolution in the Head: The Beatles’ Records and the 1960’s London: Pimlico Press
Marqusee M. (2006) Wicked Messenger: Bob Dylan and the 1960s London: Seven Stories Press
Middleton, R. (2000). Reading Pop. Oxford: OUP
Porter, C. (2005) Bob Dylan and Philosophy Open Court Publishing
Schroeder, P. (2004) Robert Johnson: Mythmaking and Contemporary American Culture (Music In American Life)
University of Illinois Press
Starr, L. and Waterman, C. (2003) American Popular Music New York: OUP
Shuker, R. (2008) Popular Music: The Key Concepts London: Routledge
Werner C, (2002). A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate
Journals:
ECHO: A Music-Centred Journal, UCLA
Jazz Perspectives, Routledge
Journal of Popular Music Studies, Blackwell Publishing
Popular Music and Society, Routledge
Popular Music, CUP
Popular Music History, Equinox
Popular Musicology Online, University of Oslo
Radical Musicology, Online Journal from Newcastle University
Soundscapes: Journal on Media Culture
Websites:
Google Scholar: scholar.google.com
97
TMSMP503: Music for Moving Image 1
Key Information
Course:
Module Code:
TMSMP503
Module Level:
5
Module Credits:
20
None
Module type:
Depending on programme:
BA (Hons) Music Production: mandatory
BA (Hons) Song Writing: option
Teaching & Learning
Module Summary
Working with image content is a satisfying and rewarding arena. This branch of the industry can become a very
lucrative career option. With an expansion of musical material embedded into more than just TV and film (i.e. radio &
online adverts, corporate trade fairs etc) both ‘synchronisation’ and commissioned based portfolios are becoming more
and more commonplace. This module has a creative focus, concentrating on compositional skills to produce ‘musical
beds’ for a variety of image based products (i.e. film, TV etc). You will study aspects such the aesthetic link between
image and music, writing a secondary product to a specific brief, the inferred association of music (i.e. commissions
vs. popular original material), working with an agency or director, supporting a visual theme alongside technical
constructs such as mixing music for moving image and working with digital video. You will study alongside students
from the School’s BA (Hons) Music Production or BA (Hons) Song Writing.
Module Aims

To synthesise musical and technical traits to deliver a solid musical artefact that supports the aesthetic of
a supplied moving image.

To conform a project’s musical output in line with an external brief whilst demonstrating a flexible working
methodology.
98

Marrying the aesthetic of image and music.

Supporting a visual theme.

Compositional techniques for image work.

Film vs. television vs. advertisements.

Writing a secondary product to a specific brief.

Musical associations (commissions vs. Sync).

Working with an agency or director.

Mixing music for moving image & using QuickTime video.
99
Learning Outcomes
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.
Assessment
No
Method
Length
Learning
Outcomes
Addressed
1, 3
Assessment
Weighting
Assessment
Week
1
‘Cut 1’ artefact.
Approx.
2 mins
30%
19
2
3-5 mins
1, 2, 3
50%
29
3
1000
word
critique
1, 2, 3
20%
29
Assessment Brief
1. Early in term one you will be given a ‘brief’ for a ‘music for moving image’ project. You will be required to compose
a bed of music for a supplied moving image file know as ‘cut 1’. This file will be supplied in a QuickTime video
format and must be integrated into an industry standard DAW. Your composition can feature a mix of sounds
sourced from recordings of instruments and / or hardware and software synthesizers and samplers. This artefact
takes the form of an audio mix down artefact generated using industry standard recording hardware and software
that has been embedded back into the image content from ‘cut 1’. Submit your work on a yellow book CD / DVD
containing the moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the
student handbook for more details. Consider attention to detail to ensure that you have confirmed to the specific
brief. Ensure that your musical aesthetic marries with that of the supplied image and focus on aspects such as
arrangement, performance, instrumental parts and overall composition techniques employed.
2. During the early weeks of term 3 you will be supplied with ‘cut 2’ of the image file. This will represent a significant
change in the files content. Rework your project from submission one to encapsulate ‘cut 2’ and all implications
this entails. Complete the project in accordance to the brief and submit your work on a yellow book CD / DVD
containing the moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the
student handbook for more details. Consider attention to detail in ensure that your musical aesthetic marries with
that of the supplied ‘final cut’ and focus further on aspects such as arrangement, performance, instrumental parts
and overall composition. Traits such as sonic detail, balance and audio aesthetic within the mix down artefact are
expected to be of high quality. It is expected that you have also engaged in some audio editing traits.
100
3. In week 29 you will also be required to include within your portfolio a 1000 word (circa +/- 10%) critique detailing
your overall aesthetic, composition techniques utilised, the hardware utilised, mixing techniques employed, audio
editing undertaken, adaptations due to brief alteration and general procedures followed. Standard academic
writing conventions are expected (i.e. third person narrative, bibliography, referencing etc). Submission is via a
PDF file delivered to the TMS VLE. See the student handbook for more details.
Assessment Criteria
Outcome
Assessment
method
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.
Construct an aesthetically valid music
for moving image artefact.
 Music & Image Aesthetic.
 Composition.
 Arrangement & Form.
Production
critique.
2. Conform working
methodologies to a specific
external brief and demonstrate
flexibility in practice.
Work creatively to a prescribed brief
with flexibility and flair.
Production
critique.
3. Comprehend and utilise
technical musical production
aspects with working on a
product within industry
standard hardware and
software platforms.
Demonstrate a solid grasp of valid
music production techniques when
working within the music for moving
image idiom.
 Mix Aesthetic.
 Digital Image Traits.
Production
critique.
101
Reading List
Core texts:
Additional texts:
Davies, R, (2010) Complete Guide to Film Scoring. Boston: Berklee Press Publications.
Pejrol, A & DeRosa, R, (2007) Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to
Writing and Sequencing for the Studio Orchestra. New York: Focal Press
Kalinak, K. (2010) Film Music: A Very Short Introduction. Oxford University Press USA
Rona, J. (2009) The Reel World: Scoring For Pictures-Updated & Revised Edition, 2 ed., New York: Hal Leonard
Corporation.
Sonnenschein, D, R. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. New
York: Michael Wiese Productions
102
TMSSW504: Writing for Commission
Key Information
Course:
Module Code:
TMSSW504
Module Level:
5
Module Credits:
20
None
Module type:
Option
Teaching & Learning
Tutors: Yak Bondy
Module Summary
The important role that the likes of Tin Pan Alley, the Brill building and Motown composer’ s such as Holland-DozierHolland have played in the modern music industry should not be under estimated. This model explores the concepts of
writing original material for a specific performing artist; working within the confines of a defined, focused brief. These
skills you allow you to explore alternative career opportunities. Writing to a ridged specification is both a talent and an
art, can be commercially lucrative and is increasingly commonplace in the industry. This module explores aspects
such as brief convention, musical aesthetic and setting, selection and justification of composition traits utilised,
arranging to a brief, group work, production companies, defining and selling hooks, maintaining originality and
creativity, deadlines, and project management.
Module Aims

To produce a high order musical artefact that is constructed within and confirms to pre determined
frameworks.

To identify, apply and appraise high cognitive songwriting methodologies in reference to a pre determined
musical convention.
103

Working to a brief: conventions and definitions.

Musical settings and aesthetic: commercial or artistic.

Appraisal and use of composition techniques when working within a brief.

Collaborations, top line writers and production companies.

Defining, writing and selling the hook.

Originality and creativity.

Project management, deadlines and budgets.
The component parts of the module will be delivered in small groups in a combined lecture/workshop format. Concepts
will be explained and demonstrated using appropriate media such as musical examples, classroom whiteboard, audio
recordings, references to hand outs and web URL’s. Practical workshops will occur within suitably equipped rooms for
relevant sections of the module. Tutorial opportunities exist whereby students can explore portfolio concepts with their
tutor(s).
Learning Outcomes
1. Distinguish the role of musical aesthetic when working within a specified brief and successfully syntheses
these areas to produce a high quality cohesive asset.
2. Appraise and apply appropriate songwriting and compositional traits when working on a pre-defined music
brief and justify use.
3. Plan, manage and execute a high order music project defined to a specific brief and trouble shoot problems
with limited guidance.
Assessment
No
1
2
Summative
Assessment
Method
Song written to
brief.
Length
Song written to
brief.
3-5 mins
+ 200 word
supportive statement
3-5 mins
+ 200 word
supportive statement
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
40%
19
1, 2, 3
60%
29
104
Assessment Brief
1. Assessment one features the submission of one original song, written to a brief. Early in term one your tutor
will give you the brief specification: you will be required to write for a specific artist. The brief will contain
details about the artist’s style, convention and aesthetic. Your artefact needs to conform to the overarching
brief and be suitable for the specified artist. The song must feature at least melody, harmony, rhythm & lyrics
based within the popular music idiom. Each student must engage in recording and mixing the song via an
industry standard Digital Audio Workstation. Your composition can feature a mix of sounds sourced from
recordings of instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail,
balance and audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that
you have also engaged in some audio editing traits. Attention to detail should be placed on the musicality of
the piece and the adherence to the brief covering aspects such as tonal phrases, dynamic and pulse,
structure, lyrically content, harmonic progression and harmonic and melodic dynamic. Submission is via a high
quality digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See the student handbook
for more details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the
employed. Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered
to the TMS VLE. See the student handbook for more details
2. Assessment two features the submission of one original song, written to a brief. Early in term one your tutor
will give you the brief specifications: you will be required to write for a specific production company. The brief
will contain details about the production company’s requirements to style, convention and aesthetic. Your
artefact needs to conform to the overarching brief and be suitable for the specified production company. The
song must feature at least melody, harmony, rhythm & lyrics based within the popular music idiom. Each
student must engage in recording and mixing the song via an industry standard Digital Audio Workstation.
Your composition can feature a mix of sounds sourced from recordings of instruments and / or hardware and
software synthesizers and samplers. Aspects of sonic detail, balance and audio aesthetic within the mix down
artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing
traits. Attention to detail should be placed on the musicality of the piece and the adherence to the brief
covering aspects such as tonal phrases, dynamic and pulse, structure, lyrically content, harmonic progression
and harmonic and melodic dynamic. Submission is via a high quality digital audio file (i.e. 24 bit WAV)
delivered to the TMS assessment server. See the student handbook for more details. You must also submit a
supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and
expands upon the any salient features or specific techniques you have employed. Journalistic writing is
acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the
student handbook for more details
105
Assessment Criteria
Outcome
Assessment
method
1. Distinguish the role of musical
aesthetic when working within
the specified brief and
successfully syntheses these
areas to produce a high quality
cohesive asset.
Assess musical aesthetic and utilise
appropriate songwriting techniques
when working within a brief.
Dynamic.
 Critique.
 Industry Potential.
Song written to
brief.
Song written to
brief.
2. Appraise and apply
appropriate songwriting and
compositional traits when
working on a pre-defined
music brief and justify use.
Construct a cohesive musical artefact
within defined frameworks and critique
on approaches taken.
 Critique.
 Literacy
 Referencing.
 Presentation.
Song written to
brief.
Song written to
brief.
high order music project
defined to a specific brief and
limited guidance.
 Critique.
 Presentation.
Song written to
brief.
Song written to
brief.
106
Reading List
Core texts:
Additional texts:
Harrison, A. (2008) Music - The Business. London: Virgin Books
Knopper, S. (2009) Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age.
New York: Simon & Schuster Ltd.
Lessig, L. (2005) Free Culture: The Nature and Future of Creativity. London: Penguin Books
Websites:
BPI British Phonographic Industry Available at: http://www.bpi.co.uk
Copywriting Tips for Smart Copywriters Available at: http://www.procopytips.com/
Music Tank (University of Westminster) Available at: http://www.musictank.co.uk/
Music Week Available at: http://www.musicweek.com/
107
TMSSW505: Showcase
Key Information
Course:
Module Code:
TMSSW505
Module Level:
5
Module Credits:
20
Compulsory audition. Applicants are expected to
demonstrate standards to grade 7 performance.
Module type:
Option
Teaching & Learning
Module Leader: Victy Silva
Tutors: Victy Silva
Module Summary
This module gives you the opportunity to explore and engage in aspects associated with a showcase performance of
original material. As a commonplace activity in the industry, the showcase represents an opportunity for a performing
songwriter to deliver self authored material to an audience often featuring industry professionals. You will develop a
portfolio of songs with an emphasis on performing them with a small pop music based ensemble, or via solo
accompaniment. With an emphasis on creativity and originality, this module gives you the chance to develop your own
distinctive voice and musical personality within both songwriting and a performance idiom. Performance is a
compulsory aspect of this module. For this reason, applicants selecting this optional module must demonstrate a
standard of grade 7 performance during a compulsory audition.
108
Module Aims

To define and build a personal, unique songwriting and musical aesthetic when working within the pop
music idiom.

To construct a portfolio of original material destined for live performance that exhibits an over arching
musical style and to perform the repertoire of work with creativity and flair.

Developing a unique artistic style.

Creativity & originality.

Musical settings and aesthetic: commercial or artistic.

Composition: writing for yourself.

Critical reflection and song development when writing for yourself.

Working with a small ensemble.

Performance: rehearsals & musical direction.

Plot development and narrative.

Historical context: classic works and composers.

Learning Outcomes
1. Identify a unique personal artistic songwriting and musical style and build a cohesive over arching 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.
109
Assessment
No
Method
Length
1
Gig plan.
500
word
plan.
2
Song portfolio
performance.
10-15
mins.
Learning
Outcomes
Addressed
1, 3
Assessment
Weighting
Assessment
Week
30%
10
1, 2, 3
70%
30
Assessment Brief
1. You are required to submit a 500 word (circa +/- 10%) plan outlining your proposal song portfolio performance
in week 30. Detail your intended artistic style, discuss the proposed repertoire you will perform, outline the use
of individual accompaniment or the use of School supplied session musicians (see below) and briefly explain
your overall compositional aesthetic, the songwriting techniques utilised, your creative approach and any
lyrical, melodic and harmonic conventions followed. Journalistic writing is acceptable but referencing is
expected. Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.
2. Assessment two features the performance of a portfolio of original songs delivered in week 30. The
performance must be between 10-15 minutes long and must feature at least two songs. There is scope for you
to performance more songs than two as long as the performance conforms to the required time duration (i.e.
perform three songs that are four minutes in duration each). Each song in the performance must feature at
least melody, harmony, rhythm & lyrics based within the popular music idiom. You personally must perform
your own material utilising any performance discipline you chose (i.e. vocals or guitar). It is not essential you
personally sing but vocals are required. You have the option to deliver the performance individually as long as
you engage in accompaniment via guitar or keys (i.e. folk aesthetic with acoustic guitar or ballad aesthetic with
piano). If you wish to engage with a small ensemble, you must source, book and engage in working with a
pool of session musicians supplied by School’s BMus (Hons) in Popular Music Performance (i.e. guitar, bass,
drums and/or vocals).This engagement will involve the creation of lead sheets and (with tutor guidance) MD
the band to be able to deliver an in School performance. Attention to detail should be placed on your individual
artistic style, the song form/structure, lyrical content, harmonic progression, melodic contour and harmonic and
melodic dynamic. The performance guidance will be delivered under supervision from your tutor and the
assessed emphasis is placed on song craft, not performance, but the performance is expected to be of a high
standard.
110
Assessment Criteria
Outcome
Assessment
method
1. Identify a unique personal
artistic songwriting and
musical style and build a
cohesive over arching
the pop music idiom.
Build a musical identity and define
aesthetic conventions.
 Composition.
 Form and Structure.
 Rhythmic Content.
 Performance.
Gig plan.
Song portfolio
performance.
2. Construct unique self-authored
musical material destined for
performance and build a
repertoire of original material
within a self defined style.
Compose and deliver a repertoire of
musical works within a self defined
style.
 Composition.
 Form and Structure.
 Rhythmic Content.
 Performance.
Song portfolio
performance.
3. Plan, manage and execute an
original song portfolio and
limited guidance.
 Composition.
 Form and structure.
 Performance.
Gig plan.
Song portfolio
performance.
111
Reading List
Core texts:
Additional texts:
Baxter, M. (1992) Rock’n’ Roll Singers Survival Handbook New York: Hal Leonard Corporation
Dayme, M.A. & Besterman A. (2009) Dynamics of the Singing Voice New York: Springer
Gallwey, W. Timothy/Green, Barry. (2003) Inner Game of Music. Pan
Kenny, D. (2011) The Psychology of Music Performance Anxiety. Oxford: Oxford University Press
Parncutt, Richard/McPherson Gary. (2002) The Science and Psychology of Music Performance Creative Strategies for
Teaching and Learning Oxford: Oxford University Press
Peckham, A. (2006) Vocal Workouts for the Contemporary Singer New York: G. Schirmer
Journals/Magazines:
The Stage. The Stage Media Company Ltd.
Websites:
Performance Magazine Archive Available at: http://www.bris.ac.uk/theatrecollection/liveart/liveart_PMAG.html
Voice Council Magazine Available at: http://voicecouncil.com/taking-command/
112
Level 6
113
TMSSW601: Song Project
Key Information
Course:
Module Code:
TMSSW601
Module Level:
6
Module Credits:
40
None
Module type:
Mandatory
Teaching & Learning
Lectures: 1 x 1-hour lectures per week for 9 weeks (9 hours) in term 1
Tutorials: 8-hours supervision over 20 weeks in terms 2/3
Personal Development Time: 383 hours
Tutors: tbc
Module Summary
The Song Project module is centred on your ability to plan, manage, deliver and execute to a high standard the
conceptualisation of song portfolio that links solid academic writing to practice.
In the Song Project module you will autonomously plan, manage and deliver a large scale project with its remit centred
within a songwriting idiom of your choosing. You will submit a portfolio of appropriate materials in support of your
project which may include (but are not limited to): song portfolios, playback artefacts such as CD, MP3 etc, full scores,
lead sheets, lyric sheets, session diaries, DAW project data, creative writing portfolios and / or music for moving image
artefacts. These will provide an insight into your pathway and project construction. You will also submit an extended
piece of academic writing. This takes the form of an essay suitable for a Level 6 module (i.e. third person narrative,
research, critique, referencing, bibliography etc). The writing will feature a solid conceptualisation of the theme
explored by your project.
The module begins with you attending a research methodology lecture series during term one that is designed to
empower you to undertake research suitable for a level six module. In week ten you will submit an outline plan
stipulating an overview of your product and the desired area of conceptualisation. You will then be assigned a suitable
supervisor from the faculty. The role of the outline plan is to present an introductory overview with which you can build
upon via research under supervision. Your plan may change by the end of the module. During terms two and three the
project becomes more self-driven with you receiving eight hours of support supervision by your relevant faculty
member. The role of the supervisor is to support your cognitive workflow and focus your chosen concept.
114
Module Aims

To plan, manage and deliver a high order song project, with creativity and authority, that showcases
extended musical aesthetic and technical constructs.

To develop research methodologies and apply them to a suitable chosen schema via presenting a
heightened piece of academic writing that encapsulates appropriate referencing, presentation and writing
style for a level 6 module.
Possible Study Topics
For the project you are free to choose any production conceptualisation that is relevant to you. Examples include:

A portfolio of self composed original music (i.e. album project or live performance 45 mins in length) that
demonstrates high level composition techniques.

An analysis of specific stylistic songwriting conventions and a portfolio presenting a myriad of self composed
original music developed in that style.

An in depth study of a songwriter from within the pop music idiom outlining writing methodologies, creative
approaches and musical aesthetics utilised by the writer and presented with self composed original musical
examples created in the same schema.

A portfolio of original music constructed for application to the stage.

A portfolio of self composed original music constructed for a hypothetical specification (i.e. imaginary pop artist
project or alternative rock band).

A portfolio of music for the moving image with documentation exploring the creative aesthetic followed,
constraints faced and working methodologies applied.
The research methodology section of the module will be delivered in all discipline groups in a lecture format. Concepts
will be explained and demonstrated using appropriate media such as classroom whiteboard, audio recordings,
references to hand outs and other works alongside overhead projection technologies. Student interaction will be
encouraged in the form of discussions and Q&A. Students will also be encouraged to begin to evaluate their own
research portfolio under guidance by the tutor. Advice will also be given on time management, planning, presentation
and critique.
As a Level 6 module, the Song Project module falls into the self-directed, autonomous theme that is current at most
Level 6 modules. During terms two and three, limited supervision is provided and you are expected to independently
manage your workflow.
115
Learning Outcomes
1. Deliver a songwriting portfolio that showcases expansive musical security, stylistic interpretation, creative
aesthetic and flair.
2. Autonomously engage in a substantial heightened project that exhibits planning, composition, production,
argument and critique with limited supervision.
3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret
said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is
suitably presented and referenced.
Assessment
No
Method
Length
Learning
Outcomes
Addressed
2
Assessment
Weighting
Assessment
Week
1.
Outline plan.
1000
word
plan.
10%
10
2.
Song portfolio.
Relevant
artefact.
1, 2
60%
30
3.
Song portfolio critique.
2000
word
critique.
1, 2, 3
30%
30
116
Assessment Brief
1. In week ten you will submit an outline plan (1000 word critique - circa +/- 10%) stipulating an overview of your
project and the desired area of conceptualisation. You will then be assigned a suitable supervisor from the faculty.
The role of the outline plan is to present an introductory overview with which you can build upon via research
under supervision. Your plan may change by the end of the module. The plan should follow the desired writing
style (i.e. third person narrative), feature good literacy, contain referencing that conforms to the Harvard
convention, posses a suitable bibliography and be of a suitable cognitive form for a Level 6 module. Submission is
via a PDF file delivered to the TMS VLE. See the student handbook for more details.
2. This will feature a substantial piece of work and encapsulates a myriad of artefacts that are relevant to your theme.
This may include (but are not limited to): song portfolios, playback artefacts such as CD, MP3 etc, full scores, lead
sheets, lyric sheets, session diaries, DAW project data, creative writing portfolios and / or music for moving image
artefacts. Your supervisor will guide you to ascertain the most relevant artefacts to submit. Submission is via
hardcopy media artefacts (if applicable) and written work artefacts (if applicable; via a PDF file delivered to the
TMS VLE. See the student handbook for more details).
3. The portfolio must contain a 2000 word critique (circa +/- 10%) exploring your chosen academic conceptualisation
relating to your portfolio. Across the course of terms two and three you’re chosen subject matter will grow under
the supervision of your assigned faculty member. The paper should follow the desired writing style (i.e. third
person narrative), feature good literacy, contain referencing that conforms to the Harvard convention, posses a
suitable bibliography and be of a suitable cognitive form for a Level 6 module. There is scope within the portfolio to
submit any additional supplementary research material if desired. These can take the form of (but are not limited
to): transcripts of personal interviews, quantitative data models and charts, lyric sheets, musical transcriptions,
software screen grabs and photographical evidence. Submission is via hardcopy media artefacts (if applicable)
and the essay via a PDF file delivered to the TMS VLE. See the student handbook for more details.
117
Assessment Criteria
Outcome
Assessment
method
1. Deliver a songwriting portfolio
that showcases expansive
musical security, stylistic
interpretation, creative
aesthetic and flair.
Direct and deliver a songwriting
portfolio at a heightened level.
 Creativity.
 Technical Constructs.
 Subject/Theme.
 Presentation.
 Communication.
Song portfolio.
Song portfolio
critique.
2. Autonomously engage in a
substantial heightened project
that exhibits planning,
composition, production,
argument and critique with
limited supervision.
Self manage and deliver a robust,
lucid portfolio. Plan their workload,
achieve set goals, manage and
organise their project.
 Creativity.
 Cohesion/Structure.
 Cognition.
 Research.
 Presentation.
Outline plan.
Song portfolio.
Song portfolio
critique.
3. Develop and present
appropriate research
methodologies that
encapsulate a broad range of
sources. Interpret said sources
in a robust cognitive manner,
focused on a pertinent,
concise theme. Assemble
work that is suitably presented
and referenced.
Utilise qualitative and/or quantitative
research techniques from a myriad of
sources and form compelling
argument. Deliver a suitably formatted
portfolio.
 Cohesion/Structure.
 Subject/Theme.
 Research.
 Literacy.
 Cognition.
 Presentation.
 Critique.
Song portfolio
critique.
118
Reading List
Core texts:
Additional texts:
Davies, M. (2007) Doing a Successful Research Project: Using Qualitative or Quantitative Methods. London: Palgrave
Macmillan.
Dawson, C. (2009). Introduction to Research Methods: A Practical Guide for Anyone Undertaking a Research Project.
4th ed. London: How To Books Ltd.
Neville, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism (Open Up Study Skills). London: Open
University Press.
Pears, R. and Shields, G. (2010) Cite them right: the essential referencing guide. 8th ed. Basingstoke: Palgrave
Macmillan.
119
TMSPERF603: Personal & Business Development
Key Information
Course:
Module Code:
TMSPERF603
Module Level:
6
Module Credits:
20
TMSPERF505 Popular Music Culture
Module type:
Core
Teaching & Learning
Lectures: 27 x 1.5 Hours
Module Leader : Harry Leckstein
Module Summary
This module gives you 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 you need in a way that is personally relevant to you.
Teaching sessions will be run in a hands-on, participative workshop style, to support you in learning through and from
your own experience.
You will get an immediate chance to practice your developing skills through using them in your own business
development and/or your Year 3 project – and will also be able to bring skills-related issues from your projects back
into this course for discussion and support.
120
Aims

To help students identify the current strengths and weaknesses of their personal and business skill sets;

To enable students to develop and practice a wide range of personal and business skills;

To develop students’ abilities to self-motivate, set realistic goals, and work effectively both independently
and in team settings.

Personal style, strengths and weaknesses, including: MBTI profiling; an examination of learning styles;
personal robustness; and working effectively with people with different preferences from your own.

Working in teams, including: Belbin team roles; Tuckman team development; identifying and troubleshooting problems in teams; and styles and dimensions of team effectiveness.

Leadership, including: goal setting; facilitation and mentoring skills; coaching yourself and others;
individual and team interventions to improve performance; conflict handling and resolution.

Personal and interpersonal business skills, including: communication in business contexts; managing time
and stress; networking and referrals; negotiation skills.

Branding and selling, including: developing a leveraged personal presence; selling your skills; advertising
strategies.

Building an online presence, including: emerging business models; Web 2.0; e-myths and other dangers;
freelancing; and entrepreneurship.
The module is taught week by week in an interactive and participative workshop style. Sessions will consist of a
mixture of tutor and student-led input; experiential learning activities; seminars; and personal / group reflection.
Students are encouraged to keep a learning diary during the course as a way of tracking their personal and businessskills development outside of class.
Students will be expected to read independently.
Formative Assessment
Frequent feedback on individual and team experiential learning tasks week by week. Peer feedback on assignment
plan.
121
Learning Outcomes
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.
Assessment
Assignment
1
Summative
Learning
Assessment
Assessment
Assessment
Outcomes
Weighting
Week
Methods
Addressed
Reflective Essay
Length
3,000
words
1, 2, 3
100%
W27
Assignment Brief: Reflective Essay (3,000 words)
Critically evaluate how you have used what you have learned during this module to support your personal /
professional development and improve your business skills and performance. Include an analytical account of the
independent personal / business development activities you have undertaken during the course of the year.
122
Assessment Criteria
Outcome
1. Undertake
independent personal
Assessment
method
Plan and carry out appropriate personal and
Essay
business development activity
development and
2.
business development
Produce a reasoned account of their own
activity
strengths and weaknesses
Analyse the results of
Reflect on the results of their developmental
this activity
activities, producing a well-evidenced account of
Essay
their successes and failures
Make well-founded and credible plans for future
work
3.
Critically evaluate a
Relate the tools and methods discussed in class
range of tools
to their own developmental activities
Essay
/methods for personal
/ business
Evaluate the models used, drawing on personal
development, relating
experience and knowledge-in-action
these tools to your
own developmental
activity.
123
Reading List
Core texts:
Throughout the module, you will be given readings and handouts to support your learning.
Additional texts:
Anderson, Chris (2006) The Long Tail: How Endless Choice is Creating Unlimited Demand, London: Random House
Business Books.
Bounds, Andy (2007) The Jelly Effect: How to Make Your Communication Stick, Chichester: Capstone.
Burlingham, Bo (2007) Small Giants, London: Penguin.
Covey, Stephen (2004) The 8th Habit, London: Simon & Schuster.
Dourado, Phil & Blackburn, Phil (2005) Seven Secrets of Inspired Leaders, Chichester: Capstone.
Gardner, Howard (2006) Multiple Intelligences: New Horizons, New York: Basic Books.
Harvard Business Review on Developing Leaders (2004) Boston, MA: Harvard Business School Publishing.
Harvard Business Review on Managing Your Career (2002) Boston, MA: Harvard Business School Publishing.
Maxwell, John C. (2001) The 17 Indisputable Laws of Teamwork, Nashville, TN: Thomas Nelson Publishers.
Nash, Susan & Bolin, Courtney (2003) Teamwork from the Inside Out, Palo Alto, California: Davies-Black Publishing.
Peters, Tom (1999) The Brand You 50, New York: Alfred A. Knopf, Inc.
Peters, Tom (1999) The Project 50, New York: Alfred A. Knopf, Inc.
Rath, Tom (2007) Strengths Finder 2.0, New York: Gallup Press.
Zeus, Perry & Skiffington, Suzanne (2000) The Complete Guide to Coaching at Work, Roseville, NSW: McGraw Hill.
124
Key Information
Course:
Module Code:
TMSSW602
Module Level:
6
Module Credits:
20
Module type:
Optional
Teaching & Learning
Tutors: Yak Bondy
Module Summary
Creativity & originality form a central theme within the music industry and hence feature as major strands within many
programmes at TMS. Developing a heightened taxonomy from previous study, this optional module allows you to
continue to exercise your creativity and musicality. With this module, you have the opportunity to study songwriting
techniques and concepts to an advanced level with an emphasis on building a portfolio of high quality, original
material. The module will focus on the advanced remit of traits such as melodic motion, melodic development over and
across harmony, advanced modulation techniques, colouring, phonetic relationships, rhyme styles and structure and
plot progression. Personal and peer critique and reflection serve to strengthen meta cognitive abilities with a musical
bias. Once again, you will study alongside students from the School’s BA (Hons) in Songwriting course or the School’s
BA (Hons) in Music Production.
Module Aims

To define specific stylistic high level songwriting techniques, interpret them within a creative context and
utilise them to construct original material.

To construct a robust knowledge of high level songwriting techniques utilised within the popular music
idiom and to implement these techniques within a portfolio of work with autonomy, creativity and flair.

‘Rule breaking’ and innovation.

Melodic motion (parallel, similar, oblique).

Melodic development across and over chord changes.
125

Intonation scales and pulse.

Word and phrase colours.

Phonetic relationships.

Plosives, fricatives, nasals.

Subtractive, consonance and assonance rhyme.

Rhyming structure, deceptive closure and unexpected closure.

Plot progression.

Non lyrical music and storytelling.

Cultural perspectives: melody, harmony and lyrics.

Artistic study: boundary pushing.

Learning Outcomes
1. Appraise advanced songwriting techniques utilised beyond the standard remit of the popular music idiom and
critique their use within a self authored piece of work.
2. 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.
3. Plan, manage and execute an original song portfolio and trouble shoot problems with total autonomy.
126
Assessment
No
Summative
Assessment Method
Length
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
1
Song performance or
production.
3-5 mins
+ 200
word
supportive
statement
30%
10
2
Song performance or
production.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
30%
20
3
Song performance or
production.
3-5 mins
+ 200
word
supportive
statement
1, 2, 3
40%
30
Assessment Brief
1. For Assessment one, you are required to compose an original song in a genre chosen by yourself. The submission
is expected to feature high quality composition conventions which may be derived from beyond the standard remit
of songwriting within the popular music idiom. Attention to detail should be placed on the overall compositional
aesthetic, musicality, form/structure, lyrical / plot content and any melodic and harmonic conventions followed (if
applicable). Submission is via a band performance or via a production artefact. Submission via a band
performance involves sourcing, booking and engaging with a pool of session musicians from within School’s BMus
(Hons) Popular Music Performance. This engagement will involve the creation of lead sheets and (with tutor
guidance) MD the band to be able to deliver an in School performance. The performance guidance will be
delivered under supervision from your tutor and the assessed emphasis is placed on song craft not performance,
but the performance is expected to be of a high standard. For the submission of a production artefact option, you
must engage in the final production of the song via an industry standard techniques. The piece can be feature a
mix of sounds sourced from recordings of instruments and / or hardware and software synthesizers and samplers.
Aspects of sonic detail, balance and audio aesthetic within the mix down artefact are expected to be of high
quality. It is expected that you have also engaged in some audio editing traits. Submission via a production
artefact involves the submission of a two high quality digital audio files (i.e. 24 bit mix down & 16 bit mastered
WAV) delivered to the TMS assessment server. See the student handbook for more details. You must also submit
a supporting statement (200 words circa +/- 10%) that documents the steps taken to create your work, and
expands upon the any salient features or specific techniques you have employed. Journalistic writing is acceptable
but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student handbook for
more details.
harmonic progression, melodic & rhythmic content etc) from assessment one. You are required to compose an
original song in a genre chosen by yourself. The submission is expected to feature high quality composition
conventions which may be derived from beyond the standard remit of songwriting within the popular music idiom.
Attention to detail should be placed on the overall compositional aesthetic, musicality, form/structure, lyrical / plot
127
content and any melodic and harmonic conventions followed (if applicable). Submission is via a band performance
or via a production artefact. Submission via a band performance involves sourcing, booking and engaging with a
pool of session musicians from within School’s BMus (Hons) Commercial Music Performance. This engagement
performance. The performance guidance will be delivered under supervision from your tutor and the assessed
emphasis is placed on song craft not performance, but the performance is expected to be of a high standard. For
the submission of a production artefact option, you must engage in the final production of the song via an industry
standard techniques. The piece can be feature a mix of sounds sourced from recordings of instruments and / or
hardware and software synthesizers and samplers. Aspects of sonic detail, balance and audio aesthetic within the
mix down artefact are expected to be of high quality. It is expected that you have also engaged in some audio
editing traits. Submission via a production artefact involves the submission of a two high quality digital audio files
(i.e. 24 bit mix down & 16 bit mastered WAV) delivered to the TMS assessment server. See the student handbook
for more details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the steps
taken to create your work, and expands upon the any salient features or specific techniques you have employed.
harmonic progression, melodic & rhythmic content etc) from assessment one and assessment two. You are
required to compose an original song in a genre chosen by yourself. The submission is expected to feature high
quality composition conventions which may be derived from beyond the standard remit of songwriting within the
popular music idiom. Attention to detail should be placed on the overall compositional aesthetic, musicality,
form/structure, lyrical / plot content and any melodic and harmonic conventions followed (if applicable). Submission
is via a band performance or via a production artefact. Submission via a band performance involves sourcing,
booking and engaging with a pool of session musicians from within School’s BMus (Hons) Popular Music
Performance. This engagement will involve the creation of lead sheets and (with tutor guidance) MD the band to
be able to deliver an in School performance. The performance guidance will be delivered under supervision from
your tutor and the assessed emphasis is placed on song craft not performance, but the performance is expected
to be of a high standard. For the submission of a production artefact option, you must engage in the final
production of the song via an industry standard techniques. The piece can be feature a mix of sounds sourced
from recordings of instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail,
balance and audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that you
have also engaged in some audio editing traits. Submission via a production artefact involves the submission of a
two high quality digital audio files (i.e. 24 bit mix down & 16 bit mastered WAV) delivered to the TMS assessment
server. See the student handbook for more details. You must also submit a supporting statement (200 words circa
+/- 10%) that documents the steps taken to create your work, and expands upon the any salient features or
specific techniques you have employed. Journalistic writing is acceptable but referencing is expected. Submission
is via a PDF file delivered to the TMS VLE. See the student handbook for more details.
128
Assessment Criteria
Outcome
Assessment
method
1. Appraise advanced
songwriting techniques utilised
beyond the standard remit of
the popular music idiom and
critique their use within a self
authored piece of work.
Assess and critique advanced
songwriting techniques used within a
body of self authored work.
 Critique.
Song
performance or
production.
2. Interpret a myriad of advanced
songwriting techniques and
derive them into a high order
original portfolio of self
authored work that
encapsulates originality,
Perform self analysis and integrate
reflection into working methodologies.
 Melodic Motion.
 Melodic and Harmonic
Development.
 Modulation & Variety.
 Colouring.
 Rhyme Structure.
 Plot Progression.
Song
performance or
production.
3. Plan, manage and execute an
original song portfolio and
total autonomy.
 Critique.
 Presentation.
Song
performance or
production.
129
Reading List
Core texts:
Additional texts:
Ayto, J. & Weidenfeld & N. (2005) Brewer’s Dictionary of Phrase & Fable. London: Orion Books
Coleman, L.S. & Funk, R.W. (2004) Professional and Public Writing: A Rethoric and Reader for Advanced
Composition. London: Longman
Hoffert, P. (2007) Music for New Media- Composing for Videogames, Web Sites, Presentations and Other New Media.
Boston: Berklee Press Publications
Holder, R.W. (2002) How Not to Say What You Mean. Oxford: Oxford University Press
Queneau, R. (2008) Exercises in Style New York: Oneworld Classics Ltd.
Sinnott, D. (2009) Masters of Songwriting. New York: Lulu
Webb, J. (1999) Tunesmith: Inside the Art of Songwriting. New York: Hyperion
Websites:
Advanced Songwriting Available at: http://www.songwritersguild.com/sandboxsga2010/index.html
Creative Boom Available at: http://www.creativeboom.co.uk/
130
TMSSW603: Song Production
Key Information
Course:
Module Code:
TMSSW603
Module Level:
6
Module Credits:
20
None
Module type:
Option
Teaching & Learning
Module Leader: Victy Silva
Tutors: Victy Silva
Module Summary
Within the music industry, creative individuals often engage in third party commission to support the development and
improvement of other writer’s material. Commonly known as ‘song doctoring’ or ‘fixing’, taking material that features
promise but is by no means fully developed to a state of fulfilment is an art form and a skill. This module gives you the
chance to explore topics such as creatively fixing and improving song form and lyrics, harmony and melody
improvement and collaboration. This module gives you the skills needed to engage in the creative musicality of
producing songs.
Module Aims

To critically appraise third party authored song material and identify problematic issues.

To build and apply solutions to problematic structure, harmonic, melodic and lyrical content.
131

Song doctoring conventions.

Critical appraisal.

Identification of problematical areas.

Fixing & development: rhythm & pulse.

Fixing & development: structure/form.

Fixing & development: harmonic content.

Fixing & development: melody & top lines.

Fixing & development: lyrical content.

Hooks: popularity & success.

Creativity & originality.

Collaboration & mentoring.

Publishing splits.

Commissions & briefs.

Learning Outcomes
1. Appraise and critique third party authored song material from within the popular music idiom and identify the
materials strengths and weaknesses.
2. Construct a strategy to improve problematic third party authored song material and derive the material into a
high order work that encapsulates originality, creativity and flair.
3. Plan, manage and execute a song improvement project and trouble shoot problems with total autonomy.
132
Assessment
No
Method
Length
1
Song improvement
project.
3-5
mins.
2
Song improvement
project.
3-5
mins.
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
30%
19
1, 2, 3
70%
29
Assessment Brief
1. You are required to engage in a ‘song improvement’ project. Early in term two you will be given an excerpt of a
third party authored song that exhibits various compositional issues (via an mp3 and a score). Alongside this
excerpt you will also be given a brief from a production company. This brief will outline the desired aesthetic and
convention for the project (i.e. a commercially viable final artefact). You are required to ‘fix’ the material and
produce a high level artefact. Your work must maintain a strong musical ethic derived from the original piece and
not engage in too much deviation (i.e. not a 100% re-write or a change in musical style). Ensure that you follow the
musical aesthetic defined by the brief. The submission must be a full song structure and represent a completed
product. The final product must feature at least melody, harmony, rhythm & lyrics based within the popular music
idiom. Attention to detail should be placed on the song form/structure, lyrically content, harmonic progression,
melodic contour and harmonic and melodic dynamic. Submission is via a production artefact; you must engage in
the final production of the song via an industry standard Digital Audio Workstation. The piece can be feature a mix
of sounds sourced from recordings of instruments and / or hardware and software synthesizers and samplers.
Aspects of sonic detail, balance and audio aesthetic within the mix down artefact are expected to be of high
quality. It is expected that you have also engaged in some audio editing traits. Submission is via a high quality
digital audio file (i.e. 24 bit WAV) delivered to the TMS assessment server. See the student handbook for more
details. You must also submit a supporting statement (200 words circa +/- 10%) that documents the steps taken to
create your work, and expands upon the any salient features or specific techniques you have employed.
2. Assessment two requires you to engage in a second ‘song improvement’ project. Early in term two you will be
given an excerpt of a third party authored song that exhibits various compositional issues (via an mp3 and a
score). Alongside this excerpt you will also be given a brief from the original artist. This brief will outline the
desired aesthetic and convention for the project (i.e. musical artistic convention above commercial viability). You
are required to ‘fix’ the material and produce a high level artefact. Your work must maintain a strong musical ethic
derived from the original piece and not engage in too much deviation (i.e. not a 100% re-write or a change in
musical style). Ensure that you follow the musical aesthetic defined by the brief. The submission must be a full
song structure and represent a completed product. The final product must feature at least melody, harmony,
rhythm & lyrics based within the popular music idiom. Attention to detail should be placed on the song
form/structure, lyrically content, harmonic progression, melodic contour and harmonic and melodic dynamic.
Submission is via a production artefact; you must engage in the final production of the song via an industry
standard Digital Audio Workstation. The piece can be feature a mix of sounds sourced from recordings of
instruments and / or hardware and software synthesizers and samplers. Aspects of sonic detail, balance and audio
aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also
133
engaged in some audio editing traits. Submission is via a high quality digital audio file (i.e. 24 bit WAV) delivered to
the TMS assessment server. See the student handbook for more details. You must also submit a supporting
statement (200 words circa +/- 10%) that documents the steps taken to create your work, and expands upon the
any salient features or specific techniques you have employed. Journalistic writing is acceptable but referencing is
Assessment Criteria
Outcome
Assessment
method
1. Appraise and critique third
party authored song material
from within the popular music
idiom and identify the
materials strengths and
weaknesses.
Assess third party song material and
identify strengths and weaknesses.
 Strengths and Weaknesses.
 Research.
 Literacy.
 Presentation.
Song
improvement
project.
2. Construct a strategy to
improve problematic third party
authored song material and
derive the material into a high
order work that encapsulates
Execute song improvement
techniques upon third party material.
 Melodic Improvement.
 Harmonic Improvement.
 Structural Improvement.
 Lyrical Improvement.
 Rhythmic Improvement.
Song
improvement
project.
song improvement project and
total autonomy.
Manage & deliver a song
improvement project that features a
cohesive final artefact.
 Research.
 Literacy.
 Presentation.
Song
improvement
project.
134
Reading List
Core texts:
Additional texts:
Guralnick, P. (2011) American Music Critics. New York: Hephaestus Books
Porter, E. (2002) What is This Thing Called Jazz? African American Musicians as Artists, Critics and Activists. San
Francisco: University of California Press
Kutrzeba, F.F. (2010) Survival of the Fittest - Analysis of a record company’s conditions for learning and development.
Boston: Lambert Academic Publishing
Rich, A. (2006) So I’ve Heard: Notes of a Migratory Music Critic. New York: Amadeus Press
Rutter, P. (2011) The Music Industry Handbook. London: Routledge
Van Hooff, R. (2010) Independent Record Companies in the Digital Era: On threats and opportunities in a changing
recording industry. New York: LAP
Journals/Magazines:
Contemporary Music Review. Routledge
Websites:
Music Street Journal Available at: http://www.musicstreetjournal.com/
135
TMSSW604: Writing for Stage
Key Information
Course:
Module Code:
TMSSW604
Module Level:
6
Module Credits:
20
None
Module type:
Option
Teaching & Learning
Module Leader: tbc
Tutors: tbc
Module Summary
Representing a lucrative and expressive area of composition, this module provides you the opportunity to study
creating musical artefacts for stage productions. Analysis of historical context and existing works provides a backdrop
for you to explore lyrical and musical themes with reference to the stage. Aspects covered include composition,
orchestration and sound design techniques for a myriad of stage related concepts such as constructing a main theme,
secondary themes and background themes; working to a brief; musical emotive conditioning (humour, pathos, love,
anger); working with producers, playwrights, pit orchestras, stage directors, choreographers and stage crews; using
playback and monitoring systems, and lyrical construction and plot line.
Module Aims

To produce a high order music for stage artefact that is constructed within and confirms to pre determined
frameworks.

To identify, apply and appraise high cognitive songwriting methodologies in reference to a pre determined
music for stage convention.
136

Working to a brief: conventions and definitions.

Themes: main, secondary and background.

Emotive conditioning within narrative.

Plot development and narrative.

Historical context: classic works and composers.

Working with playwrights, directors, choreographers and producers.

Arrangement and orchestration.

Sound design.

Playback systems and pit orchestras.

Project management, deadlines and budgets.
web URL’s. Practical workshops will occur within suitably equipped rooms for relevant sections of the module.
Established practitioners of theatre arts will deliver content in a guest lecture capacity. Tutorial opportunities exist
Learning Outcomes
1. Distinguish the role of musical aesthetic when working within a music for stage brief and successfully
syntheses these areas to produce a high quality cohesive asset.
2. Appraise and apply appropriate songwriting, compositional and arranging traits when working on a pre-defined
music for stage brief and justify use.
3. Plan, manage and execute a high order music for stage project defined to a specific brief and trouble shoot
problems with total independence.
137
Assessment
No
Summative
Assessment Method
Length
1
Musical backdrop for
short dramatic scene.
5-10 mins
+ 200
word
supportive
statement
2
Musical piece to brief.
5-10 mins
+ 200
word
supportive
statement
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
40%
20
1, 2, 3,
60%
30
Assessment Brief
1. Assessment one features the submission of a musical backdrop composed & designed for use with a prescribed
short dramatic scene. Early in term one your tutor will give you a brief that comprises of an over arching concept
and a short story synopsis. You will also be given a digital audio file that represents the narration for the stage
production. The piece must feature at least melody, harmony & rhythm based within the popular music idiom and
must conform to the brief supplied. Each student must engage in recording and mixing the song via an industry
standard DAW. Your composition can feature a mix of sounds sourced from recordings of instruments and / or
hardware and software synthesizers and samplers. Place the audio file of the narration across the timeline of the
DAW and embedded it into the final musical artefact. Attention to detail should be placed on the musicality of the
piece and the stylistic convention covering aspects such as emotional dynamic, progression of harmony, plot
development, dynamic and pulse, structure, harmonic and melodic dynamic. Aspects of sonic detail, balance and
audio aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also
2. Assessment two features the submission of a musical piece composed design for use with a hypothetical stage
production. Early in term two your tutor will give you a brief that comprises of an over arching concept and a short
story synopsis. You will also be given a lyric sheet that represents the lyrics for the stage production. The piece
must feature at least melody, harmony & rhythm based within the popular music idiom and must conform to the
brief supplied. Each student must engage in recording and mixing the song via an industry standard DAW. Your
composition can feature a mix of sounds sourced from recordings of instruments and / or hardware and software
synthesizers and samplers. Using a suitable performer, record the vocals within the DAW and embedded it into the
final musical artefact. Attention to detail should be placed on the musicality of the piece and the stylistic convention
covering aspects such as emotional dynamic, progression of harmony, plot development, dynamic and pulse,
structure, lyrically content and harmonic and melodic dynamic. Aspects of sonic detail, balance and audio
aesthetic within the mix down artefact are expected to be of high quality. It is expected that you have also
138
Assessment Criteria
Outcome
Assessment
method
1. Distinguish the role of musical
a music for stage brief and
successfully syntheses these
areas to produce a high quality
cohesive asset.
Assess musical aesthetic and utilise
appropriate songwriting techniques
when working within a music for stage
brief.
Dynamic.
 Critique.
Musical
backdrop for
narration.
Musical piece to
brief.
2. Appraise and apply
appropriate songwriting,
compositional and arranging
traits when working on a predefined music for stage brief
and justify use.
Construct a cohesive music for stage
artefact within defined frameworks
and critique on approaches taken.
 Critique.
 Literacy
 Referencing.
 Presentation.
Musical
backdrop for
narration.
Musical piece to
brief.
high order music for stage
project defined to a specific
brief and trouble shoot
problems with total
independence.
 Critique.
 Presentation.
Musical
backdrop for
narration.
Musical piece to
brief.
139
Reading List
Core texts:
Additional texts:
Cohen, A. & Rosenhaus, S.L. (2006) Writing Musical Theatre. London: Palgrave Macmillan
Engel, L & Kissel, H. (2004) Words with Music: Creating the Broadway Musical Libretto. New York: Applause Theatre
Book Publishers
Frankel, A. (2000) Writing The Broadway Musical. New York: Da Capo
Spencer, D. & Lopez, R. & Marx J. (2005) The Musical Theatre Writer’s Survival Guide. New York: Heinemann
Educational Books
Journals/Magazines:
M Magazine - Theatre, Lifestyle and More
Websites:
M Magazine - Theatre, Lifestyle and More Available at: http://m-isfor.co.uk/
Nurturing Musical Theatre Writing Available at: http://www.mercurymusicals.com/
Theatrical Publishers and Rightsholders Available at: http://www.stagescripts.com/
The Top Musical Theater Writers Available at: http://www.musicals101.com/writers.htm
140
TMSMP604: Music for the Moving Image 2
Key Information
Course:
Module Code:
TMSMP604
Module Level:
6
Module Credits:
20
Module type:
TMSMP504 Music for Moving Image 1
Optional
Teaching & Learning
Module Summary
Building upon previously studied concepts, this module allows you to explore composition traits and techniques to an
advanced level, whilst working within the moving image idiom. Working within a myriad of visual themes, you will study
both the compositional and production traits associated with working within corporate video, advertising and
commercials, television film and drama, brand idents and television themes, documentaries and animated features.
Analysis of commercial work will instil reflective practice within your own work. Concepts such as project planning,
budgeting, marrying visual & musical aesthetic, themed composition strategies, arranging for specific formats,
orchestration & instrumentation for specific briefs, mixing for image, storyboards, digital video, building a professional
show reel and industry networking will be studied to an advanced level. You will study alongside students from the
School’s BA (Hons) Music Production or BA (Hons) Song Writing.
Module Aims

Exemplify the integration of musical and visual aesthetic to a high level when working within music for
moving image idioms.

Construct advanced composing, arranging and orchestration facets within a defined moving image
specification and justify their use.

Music and image aesthetic.

Composition strategies for visual themes (film, television, adverts etc).

Planning a project & budgeting.

Orchestration for specific briefs.
141

Production & mixing music for image.

Digital video formats.

Building a show reel and networking.
Learning Outcomes
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 advanced 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.
Assessment
No
Method
Length
Learning
Outcomes
Addressed
1, 2, 3
Assessment
Weighting
Assessment
Week
1
Composition for moving
image portfolio.
3-5
mins.
50%
30
2
image score.
Score.
1, 2, 3
30%
30
3
image critique.
1000
word
critique.
1, 2, 3
20%
30
142
Assessment Brief
1. You will be required to submit a Composition for Moving Image Portfolio. Early in term one you will be given a list
of briefs for a ‘music for moving image’ project. You will be required to select one of the briefs and compose a bed
of music for a self-sourced moving image file. This file must be in a QuickTime video format and must be
integrated into an industry standard DAW. Your composition can feature a mix of sounds sourced from recordings
of instruments and / or hardware and software synthesizers and samplers, with no Foley or dialog. This artefact
takes the form of a mix down artefact generated using industry standard recording hardware and software that has
been embedded back into the moving image file. Submit your work on a yellow book CD / DVD containing the
moving image file with your embedded music in an appropriate format (i.e. .mov or .mp4). See the student
handbook for more details. Consider attention to detail to ensure that your musical aesthetic marries with that of
the brief and focus further on aspects such as arrangement, performance, instrumental parts and overall
composition. Traits such as sonic detail, balance and audio aesthetic within the mix down artefact are expected to
be of high quality. It is expected that you have also engaged in some audio editing traits.
2. You must also submit a score representing the musical elements (at least four) within your piece. The score can
be created by hand (but is legible) or generated via appropriate software (i.e. Sibelius). Consider attention to detail
within the score and ensure it is of appropriate quality for a level 6 artefact. Score submission is via a hardcopy or
via a PDF file delivered to the TMS VLE. See the student handbook for more details.
3. You will also be required to include within your portfolio a 1000 word (circa +/- 10%) critique detailing your overall
aesthetic, composition and arranging techniques utilised, the hardware utilised, mixing techniques employed,
audio editing undertaken and general procedures followed. Standard academic writing conventions are expected
(i.e. third person narrative, bibliography, referencing etc). Essay submission is via a PDF file delivered to the TMS
143
Assessment Criteria
Outcome
Assessment
method
1. Distinguish the role of
composition and visual
a brief for a moving image
product and successfully
syntheses these areas to
produce a high quality
cohesive asset that follows
Deliver a high quality composition for
a moving image product.
 Composition.
 Orchestration.
Composition for
moving image
portfolio.
Composition for
moving image
score.
Composition for
moving image
critique.
2. Appraise and apply advanced
compositional traits and
technical musical production
facets when working on a
product and justify use.
Define and utilise compositional
techniques and critique their use.
 Composition.
 Orchestration.
 Critique.
Composition for
moving image
portfolio.
Composition for
moving image
score.
Composition for
moving image
critique.
high order moving image
project and trouble shoot
problems with total
independence.
features a high quality cohesive
artefact.
 Planning.
 Presentation.
Composition for
moving image
portfolio.
Composition for
moving image
score.
Composition for
moving image
critique.
144
Reading List
Core texts:
Additional texts:
Karlin, F. & Wright, R. (2004) On the Track: A Guide to Contemporary Film Scoring. London: Routledge.
Schoenberg, A. (1999) Structural Functions of Harmony. New York: Faber and Faber
Fux, J. (1965) The Study of Counterpoint. New York: W. W. Norton & Co
Schifrin, L & Feist, J. (2011) Music Composition for Film and Television. Boston: Berklee Press Publications
Northam, M., Miller L.A. & Northman, M. (2011) Film and Television Composer's Resource Guide. New York: Hal
Leonard Publishing
Schelle, M. (2000) The Score: Interviews with Film Composers. New York: Silman-James Press
Journals/Magazines:
MusicTech - Anthem Publishing Ltd.
Sound On Sound. SOS Publications Group
FutureMusic. Future Publishing Ltd.
Electronic Musician. New Bay Media
Websites:
Filmmusicmag Available at: http://www.filmmusicmag.com/
Film scores Available at http://www.filmscoremonthly.com/daily/index.cfm
145
Key Information
Course:
Module Code:
TMSSW605
Module Level:
4
Module Credits:
20
None
Module type:
Option
Teaching & Learning
Module Summary
As a creative songwriter, use of music production idioms represents an important facet that expands your creativity
beyond just a writing remit. This module expands your study of music production schematics to a high level. You will
explore relevant platforms utilised within the industry, with an emphasis on utilising these tools within a creative
framework. In order to create a robust artefact that stands out from the crowd, aspects of originality and creativity are
paramount. Production properties such as mixing, mastering, remixing, synthesis, sampling and audio processing can
assist in the creation of a unique product for any style. These subjects will be covered in this module with an emphasis
on production of song-based material.
Module Aims

To encapsulate a comprehensive overview of advanced music production techniques with a bias towards
song based material.

To exercise musical creativity via software based synthesis and sampling methodologies.
146

Song based production ethos.

Advanced mixing protocols and traits.

Advanced audio manipulation and processing.

Synthesis techniques.

Sampling techniques.

Learning Outcomes
1. Construct a self generated music production style and create a high order audio artefact that that exhibits
2. Interpret synthesis and sampling methodologies within a virtual environment and apply traits to form a
musically cohesive artefact.
3. Explore advanced sonic manipulation and audio processing techniques via industry standard protocols.
4. Plan, manage and execute a high order audio processing project and trouble shoot problems with total
independence.
147
Assessment
No
Method
Length
2
Music production artefact.
3-5 mins
3
1500
word
critique
Learning
Outcomes
Addressed
1, 2, 3, 4
Assessment
Weighting
Assessment
Week
60%
30
1, 2, 3, 4
40%
30
Assessment Brief
1. You will be required to produce a piece of music and submit a mix down artefact generated using industry
standard recording hardware and software. Select a piece from your own repertoire and construct a production
artefact that showcases a defined, personal production style. The musical piece must be an original composition
(from any genre) which features a mix of sounds sourced from recordings of instruments alongside the integration
of software synthesizers and samplers. The final mix down artefact should also be mastered utilising industry
protocols and both the non-mastered and mastered version should be submitted. Submission is via two high
quality digital audio files (i.e. 16 bit dithered & 24 bit WAV) delivered to the TMS assessment server. See the
student handbook for more details. Consider attention to detail in the recording quality, arrangement, performance,
instrumental parts, synthesis and sampling techniques utilised, audio processing and manipulation techniques
applied and overall composition (if applicable). Aspects of sonic detail, balance and audio aesthetic within the mix
down artefact are expected to be of high quality. It is expected that you have also engaged in some audio editing
traits.
2. Each student must also include within their portfolio an individually authored 1500 word (circa +/- 10%) production
critique detailing the production ethos and style, the mixing process, the hardware and software utilised, the mixing
techniques employed, the audio editing, processing and manipulation undertaken, the integration of synthesis and
sampling methodologies and mastering techniques utilised. Standard academic writing conventions are expected
(i.e. third person narrative, bibliography, referencing etc). Submission is via a PDF file delivered to the TMS VLE.
See the student handbook for more details.
148
Assessment Criteria
Outcome
Assessment
method
1. Construct a self generated
music production style and
create a high order audio
artefact that that exhibits
Define a personal production ethos
and deliver a cohesive musical
artefact.
 Production Aesthetic.
Music production
artefact
Production
critique.
2. Interpret synthesis and
sampling methodologies within
a virtual environment and
apply traits to form a musically
cohesive artefact.
Construct synthesis and sampling
traits within a subtractive software
environment.
 Sonic Quality.
 Synthesis Techniques.
 Sampling Techniques.
 Creative Interpretation.
Music production
artefact
Production
critique.
3. Explore advanced sonic
manipulation and audio
processing techniques via
Deliver an artefact that utilises
advanced sonic manipulation
protocols that are commonplace in the
industry.
 Sonic Manipulation.
 Audio Quality.
Music production
artefact
Production
critique.
high order audio processing
project and trouble shoot
problems with total
independence.
 Presentation.
Music production
artefact.
Production
critique.
149
Reading List
Core texts:
Additional texts:
Gibbs, T. (2007) The Fundamental of Sonic Art & Sound Design. London: AVA Publishing
Gold, B & Morgan, N & Ellis, D. (2011) Speech and Audio Signal Processing. London: Wiley-Blackwell
Hewitt, M. (2009) Composition for Computer Musicians. New York: Delmar
Katz, B. (2007) Mastering Audio. 2nd edition. New York: Focal Press.
Owsinski, B. (2007) The Mastering Engineer’s Handbook. New York: Music Sales
Limited.
Russ, M. (2008) Sound Synthesis and Sampling. London: Focal Press
Schulz, G. (2011) Cloud and Virtual Data Storage Networking. New York: Auerbach Publications
Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. New
York: Michael Wiese Productions
Whittington, W, (2007) Sound Design and Science Fiction. Austin: University of Texas Press
150
TMSPERF607: Music Pedagogy in Practice
Key Information
Course:
Module Code:
TMSPERF607
Module Level:
6
Module Credits:
20
None
Module type:
Option
Teaching & Learning
Module Leader: tbc
Tutors: tbc
Module Summary
This module helps students develop the pedagogical skills necessary for leading educational music projects in the
classroom and the community setting. Leading educational projects in music is integral to many professional
musicians’ business plans and is becoming increasingly common as graduates pursue a career with portfolio. Many
others aim to undertake a career solely in music education.
The boundaries between classroom and community teaching are becoming increasingly blurred as pedagogies from
each are becoming more commonly employed in the other. This module, therefore, will provide a valuable overview of
a broad range of contexts for music education and a study of the nature of the effective pedagogies utilised across
them.
Students will learn how to plan, deliver and evaluate effective sessions, which will ensure participants’ progression.
This module will also address the skills necessary for setting up a successful teaching practice or the creation and
implementation of a community based project.
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.
151
Module Aims

To explore a variety of relevant pedagogical methodologies

To develop skills in planning, execution and evaluation

To offer opportunities for first hand practical experience in teaching and leading

To enable students to plan for employment

Planning

Evaluation

The nature of musical learning

Contexts for musical learning

Application of pedagogical methodologies

Learning styles

Participant management

Business related skills
This module will be delivered utilising a variety of methods including: tutor-led sessions, practical workshops, studentled workshops, micro-teaching, e-learning and independent study as well as experiential learning and research.
152
Formative Assessment
Formative assessment will include Q&A, tests, quizzes, group and individual tasks, presentations, mock assessments
and student led sessions during the year. These will provide background material for both the Project Portfolio and
Practical Assessment.
Learning Outcomes
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.
Assessment
Assignment
Summative
Learning
Assessment
Assessment
Assessment
Outcomes
Weighting
Week
Methods
Addressed
1,2,3,4
50%
W22-W27
1,2,3,4
50%
W28
1
Length
30 Mins
Practical
Class
Assessment
based
teaching
2
2500
Project Portfolio
Words
153
Assignment Brief
Project Portfolio (2,500 words) – Individual work
This will consist of a written submission, in which students will:

Develop and plan a series of 10 sessions, and produce associated learning resources. Plans should be
researched and should include: rationale; lesson outcomes; learning outcomes; activities; details of the
methodologies employed: timing; resources; formative evaluation strategies; strategies for differentiation.

Evaluate each session, and provide a number of well-reasoned and well-supported suggestions for
development of the project. The evaluations should include: reflection upon the students’ own performance as
well as reflection upon planning.

Write a critical evaluation of the effectiveness of the whole project.

Refer to ongoing feedback comments from the module tutor during the year.
2. Practical Assessment- 30 Minute Lesson Observation

The student will be formally observed and assessed while leading a session, which may be taken from their
project portfolio or written specifically for the task.

The session must be devised and executed with a view to a particular setting (community/ classroom / one-toone).

The session must demonstrate the facilitation of progression.
154
Assessment Criteria
Outcome
Assessment method
1. Utilise key
Demonstrate key pedagogic principles
Project Portfolio,
within their own teaching.
Practical Assessment
Research, develop and execute
Project Portfolio,
outcomes and
appropriate plans, demonstrating
learning outcomes
consideration of the requirements of
through devising an
individuals.
pedagogic
principles vital to
musical learning in
a variety of settings
2. Create lesson
appropriate
educational project
in music.
Explore summative assessment
Project Portfolio,
facilitate
methods. Provide constructive
participants’
formative feedback to participants and
musical
evaluate progress.
3. Enable and
progression.
4. Evaluate the
Produce critical evaluations of the
Project Portfolio,
strengths and
effectiveness of sessions and provide
weaknesses of their
a number of well-reasoned and well-
own sessions as
supported suggestions for
well as those of
improvement.
their peers.
155
Reading List
Core texts:
Green, L., Music, Informal Learning and the School: A New Classroom Pedagogy, Ashgate
Popular and Folk Music Series) 2008
Moser, P, McKAY, G., (2005) Community Music, a Handbook, Russell House Publishing, Dorset,
Swanwick, K., (1999) Teaching Music Musically, Routledge, UK,
Additional texts:
Davies, S. (2006) The Essential Guide to Teaching Longman
Fontana, D., (1988) Psychology for Teachers, BPS
Green, L, (2001) How Popular Musicians Learn Ashgate
Green, L., (1998) Music on Deaf Ears, MUP
Hallam, S, (1998). Instrumental Teaching Heinemann
Odam, G, (1995). The Sounding Symbol: Music Education in Action Stanley Thornes
Philpott, C. (ed) (2001) Learning to Teach Music in the Secondary School Routledge Falmer
Small, C, (1998) Musicking: The Meanings of Performing and Listening Wesleyan University Press
SMALL, C., (1996) Music, Society, Education, Wesleyan University Press,
Spruce, G, (1995) Teaching Music: Open University PGCE Course Reader Routledge.
Vulliamy, G. (1982) Pop, Rock and Ethnic Music in School (Resources of Music) Cambridge: CUP
Journals:
General Music Today
International Journal of Community Music
Journal of Music Teacher Education
Journal of Research in Music Education
Music Educators Journal
156

programme specification

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