Post on 06-Jun-2020
FdA Music Production
University Centre Weston
in partnership with
Bath Spa University
Academic Year 2017/18
Programme Handbook
UCAS code J390
Programme Leader: Dr Niall Thomas
Contents
1. INTRODUCTION ..................................................................................................................................... 1
WELCOME ...................................................................................................................................................... 1 PURPOSE OF HANDBOOK ................................................................................................................................... 1
2. COURSE DETAILS ................................................................................................................................... 2
COURSE DISTINCTIVENESS .................................................................................................................................. 2 PROGRAMME TEAM .......................................................................................................................................... 3 COURSE STRUCTURE .......................................................................................................................................... 4
3. COURSE AIMS ....................................................................................................................................... 7
PROGRAMME AIMS .......................................................................................................................................... 7 PROGRAMME INTENDED LEARNING OUTCOMES (ILOS) ........................................................................................... 7 INTERMEDIATE AWARDS..................................................................................................................................... 8 GRADUATE ATTRIBUTES ..................................................................................................................................... 9 YOUR FOUNDATION DEGREE CLASSIFICATION ....................................................................................................... 10 PROGRESSING ONTO HONOURS DEGREE ............................................................................................................. 11
4. LEARNING ENVIRONMENT .................................................................................................................. 12
LEARNING AND TEACHING METHODS .................................................................................................................. 12
5. HOW QUALITY IS ASSURED ................................................................................................................. 14
QUALITY MONITORING AND EVALUATION ............................................................................................................ 14
6. GENERAL COURSE INFORMATION ....................................................................................................... 16
STAFF PROFILES ............................................................................................................................................. 16
7. MODULE DESCRIPTORS ....................................................................................................................... 18
LEVEL 4 MODULES.......................................................................................................................................... 18 LEVEL 5 MODULES.......................................................................................................................................... 27
8. APPENDICES ........................................................................................................................................ 36
APPENDIX 1 - HE POLICIES AND PROCEDURES ...................................................................................................... 36
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1. Introduction
Welcome
Welcome to the Music Production Foundation Degree. This course is offered in
partnership between Bath Spa University and University Centre Weston. You are
a registered student at Bath Spa University and at UCW, and you have access to
services on both sites.
If you want to challenge yourself to acquire understanding and skills that stretch
you to meet your full potential then this course is an excellent choice. As well as
encountering high expectations and continual challenges, you will be supported
by approachable and highly-qualified staff members with a passion for teaching,
learning and research.
Purpose of Handbook
This handbook provides essential background information that will be of help in
your studies on the FdA Music Production programme. It provides links to the
definitive data sources wherever possible. The handbook can be accessed via
your Moodle account.
Please note that the electronic version will be kept up to date and you will be
notified of any significant changes. If you have taken a hard copy of any
information please remember to refer back to the electronic version to ensure
that you are working with the most up to date information.
For detailed module information please see the respective Module Handbook.
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2. Course details
Major, Joint, Minor or Specialised Specialised
Delivered at UCW
Faculty Creative Arts and Design
Campus University Campus
Final award FdA Music Production
Intermediate awards available Certificate of Higher Education
UCAS code J390
Details of professional body
accreditation
Not applicable
Relevant QAA Benchmark
statements
Foundation Degree Qualification
Benchmark QAA 065 10/2004
Subject Benchmark: Music
Date specification last updated March 2017
Course Distinctiveness
The course provides tuition and guidance in three key areas of the music-
production business: critical listening, professional audio software and sound
engineering. All strands of the course are taught through practical activity to
ensure a thorough understanding of industry practices. Throughout the course
the emphasis will be on developing the skills necessary to gain successful
employment in the audio production industry, whether that is working with new
or traditional media, in a recording studio or as a freelance musician/producer.
As well as the more specific learning outcomes shown in Section 3 of this
handbook, the course looks to develop students’ abilities and aptitudes in a
range of more general areas. Social and interpersonal attributes are given
considerable emphasis in the course as they form a vital part of work in all areas
of the music and media industries. Students will be invited to reflect on their
ability to build productive and business-like relationships in all areas of the
course but particularly in those modules that contain extensive group work.
Through reflective analysis and well-managed challenges the course will look to
teach the whole student and avoid, thereby, a simple commodification of skills.
In this way students will be encouraged to become self-aware and ethically
minded individuals who are able to engage critically and responsibly with the
world and its industries.
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If you successfully gain all the credits necessary to achieve your award, you can
apply for progression to ‘top-up year’ at UCW University Campus leading to the
award of a BA(Hons) in Professional Music Performance and Production.
Figure 1: Framework for Higher Education Qualifications
This course has been designed with employability in mind and has been written
to enable students to engage with the issues and developments affecting the
Music Production industry. Its vocational focus allows students to spend a
significant amount of time within the workplace in order to gain experience,
manage a variety of small projects and develop a range of skills. A vocational
approach is underpinned by academic theory and industry standards that allow
students to assess problems, make comparative judgments and suggest a range
of alternative approaches. The modules have been designed to deliver a balance
of theory and practical experience of key aspects of the Music Production
industry.
Programme team
Name Role Email Tel
Dr. Niall Thomas Programme
Coordinator
niall.thomas@weston.ac.uk 01934 411218
Lee Sullivan Curriculum
Coordinator
lee.sullivan@weston.ac.uk 01934 411216
Link tutor
Name Role Email
Pete Bernard Senior Lecturer in
Commercial Music, Bath
Spa University
p.bernard@bathspa.ac.uk
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All HE programmes at UCW are delivered as a collection of modules, which build
on each other to form a complete programme of study. Each module carries a
credit rating, defining how much study time it takes to complete. Notionally, 1
credit equates to 10 hours study time (so 10 credits = 100 study hours). Study
hours includes lectures, seminars, tutorials, group work, independent study and
research – in fact, any time that contributes to your learning on the module.
Course structure
Year one
Full time Year 1 of study
Level Title Credits Code
4 Creative Audio Applications 40 WM4120-40
4 Recording Studio Practice 40 WM4121-40
4 Music Production in Context 40 WM4122-40
Creative Audio Applications
The key aim of this module is to give students a thorough knowledge of
industry-standard audio applications. Students will gain a range of transferable
creative skills in the areas of: analogue and digital audio manipulation; creative
hardware applications; digital audio workstations; MIDI programming; mixing;
sampling, and synthesis. A further aim of this module is to expose students to
the creative potentials of digital and analogue audio applications when used in
different contexts (circuit bending and basic instrument design, for example). It
will also focus on wider considerations of industry practice and procedures for
creative work.
Recording Studio Practice
The core aim of this module is to equip students with a thorough understanding
of the recording studio environment and the methods of recording, storing and
propagating sound. Recording Studio Practise balances practical and theoretical
approaches to recording and mixing contemporary music, with the creative
potential of analogue and digital music production hardware. Students will begin
to develop a professional work ethos and understanding of the varying roles and
responsibilities of music professionals. Students will reflect upon the technical
processes employed, production decisions made, and approach to working both
individually and collaboratively.
Music Production in Context
Students will gain an understanding in the technical principles of music and
sound, as well as developing an understanding of musicological principles that
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surround Music Production and Technology, through academic research and
critical analysis skills. The aim of this module is to provide a theoretical
background as well as allowing students to consider music as a socio- cultural
and technological phenomenon. Creative application of the principles and
techniques from the lecture series will be explored through a portfolio of work,
demonstrating a balance of theoretical understanding and creative application of
music production tools. Students will be provided the opportunity to research, in
depth, an area of particular interest relevant to the lecture and seminar series.
Year Two
Full time Year 2 of study
Level Title Credits Code
5 Sound for Media 40 WM5120 -40
5 Advanced Music Production 40 WM5014- 40
5 Audio Visual Technologies 40 WM5121 -40
Sound for Media
The creative use of sound and music with picture is fast becoming the most
sought after skill in the creative industries. This module will introduce students
to the process of sound design and music composition for film, TV, computer
games and multimedia. The module will explore the creative and technical
challenges of creating sound for the moving image and the use of music and
sound to support and enhance narrative structures. You will be encouraged to
think laterally and inventively in dealing with sound, music and picture
relationships.
Advanced Music Production
The module aims to develop the critical and practical skills learned that have
been developed across all modules at level 4. Stylistic approaches to music
production will be developed and analysed using integrated hardware and
software solutions. Advanced music production methods will be explored using
case studies of historical and current industry professionals. A key focus of
Advanced Music Production will be combining industry standard practice with an
in-depth understanding of musicological concepts that surround the ‘art’ of music
production.
Audio Visual Technologies
The ever-increasing shift towards live production for contemporary musicians
(performers and producers alike) reflects the commercial movement away from
the traditional record industry model. More and more artists, and producers, are
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looking for creative ways to maintain income from live productions. This module
will expose students to the varied technologies that populate live music, art, and
events productions. This module aims to integrate digital technologies into live
performance, alongside a thorough understanding of live sound reinforcement,
audio-visual applications and appropriate promotion and commercial strategies
for working in the live production arena.
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3. Course aims
Programme Aims
1. To promote the development of an in-depth understanding of: music
production techniques across digital and analogue platforms; recorded and
live performance production techniques; and, the creative application of
industry standard audio tools within a professional context.
2. To engage with professional music production processes, materials and
technologies, whether through composition, performance, engineering, or
critical review.
3. To provide students with the opportunity to explore and analyse historic
approaches to music production and analyse the impact on music production
practise that socio- cultural, and technological, development has had.
4. To enable and encourage innovative, collaborative work that reflects the
nature of the recording industry in the 21st century.
5. To develop accomplished employability attributes enabling graduates to apply
for work in a diversity of professional music production contexts.
6. To develop skills in academic writing, critical thinking, research methods and
the ability to evaluate different approaches to problem solving.
Programme Intended Learning Outcomes (ILOs)
A Subject-specific Skills and Knowledge
A1. Demonstrate an in-depth understanding of a range of music-production
hardware and software applications.
A2. Demonstrate a detailed knowledge of the principles and concepts underlying
good studio practice with an awareness of health and safety guidelines in a
professional environment.
A3. Identify and critically analyse the impact of developing technologies on the
history of music production and how these have influenced key principles
and practices.
A4. Plan and implement the effective application of creative audio-visual
production technologies.
A5. Demonstrate and personify an in-depth understanding of the roles and
responsibilities of music production professionals.
B Cognitive and Intellectual Skills
B1. Undertakes research to produce innovative responses to creative briefs.
B2. Evaluate a range of professional practices, appropriately, and creatively,
implementing feedback from a variety of sources to reach personal
development goals.
B3. Reflect upon and evaluate one’s own performance within a collaborative or
team setting, identifying limitations and potential improvements.
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B4. Analyse and anticipate specific impacts of the development of technology on
music production, demonstrating a detailed knowledge of key concepts and
practices.
C Skills for Life and Work
C1. Autonomous learning (including time management) as would be necessary
for employment requiring the exercise of personal responsibility and
decision-making such that significant responsibility within organisations
could be assumed.
C2. Teamwork as would be necessary for employment requiring the exercise of
personal responsibility and decision-making for effective work with others
such that significant responsibility within organisations could be assumed
C3. Communication skills commensurate with the effective communication of
information, arguments and analysis in a variety of forms to specialist and
non-specialist audiences in which key techniques of the discipline are
deployed effectively.
C4. IT skills and digital Literacy that demonstrate the development of existing
skills and the acquisition of new competences.
Intermediate awards
Level 4 Intended Learning Outcomes (CertHE)
A Subject-specific Skills and Knowledge
A1. Explore and demonstrate a broad understanding of a range of music-
production hardware and software applications.
A2. Identify the principles and concepts underlying good studio practice with an
awareness of health and safety guidelines in a professional environment.
A3. Demonstrate the use of appropriate recording and mix-down procedures
within a professional recording studio environment.
A4. Demonstrate an awareness of, and discuss, the roles and responsibilities of
music production professionals.
A5. Collect information from a variety of sources, utilising them to articulate the
socio-cultural and technological concepts that underpin music production.
A6. Comprehend and apply key concepts of acoustic phenomena and the
physical nature of sound.
B Cognitive and Intellectual Skills
B1. Use lateral thinking to produce innovative responses to creative briefs.
B2. Evaluate a range of professional practices and relate to personal
development.
B3. Reflect upon and evaluate one’s own performance within a collaborative or
team setting.
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B4. Analyse the impact of technologies on music production in the past and in
the future.
C Skills for Life and Work
C1. Autonomous learning (including time management) as would be necessary
for employment requiring the exercise of some personal responsibility.
C2. Team work as would be necessary for employment requiring the exercise of
some personal responsibility for effective work with others.
C3. Communication skills that demonstrate an ability to communicate outcomes
accurately and reliably, and with structured and coherent arguments.
C4. IT skills and digital literacy that provide a platform from which further
training can be undertaken to enable development of new skills within a
structured and managed environment.
Graduate attributes
Bath Spa Graduates… In Music Production, we enable this…
1 Will be employable: equipped with the skills necessary to flourish in the
global workplace, able to work in and lead teams
Through programme and module design. All teaching and
assessment is written expressly with the skills of the global marketplace in mind and with
direct industry consultation.
2 Will be able to understand and
manage complexity, diversity and change
Programme materials and module
design have been created and developed with reference to the
changing nature of, and diverse complexities within, the music related industries. Yearly review, at
all levels will ensure that change is affected where necessary.
3 Will be creative: able to innovate and to solve problems by working
across disciplines as professional or artistic practitioners
In engaging with creative briefs students will utilise creativity,
innovation and problem solving. Working across disciplines is an essential component of professional
and artistic practice as well as the application of creative thinking
techniques.
4 Will be digitally literate: able to
work at the interface of creativity and technology
Digital literacy is embedded within
the programme both in subject specific activities (industry standard digital audio workstations
and recording studio interfaces) and the organisation, management
and presentation of research,
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formative and summative
assessments.
5 Will be internationally networked:
either by studying abroad for part of the their programme, or studying alongside students from overseas
Collaboration will be encouraged
and supported with industry-based work and projects. The programme offers the opportunity for the study
of topics with both international and cultural significance.
6 Will be creative thinkers, doers and makers
The ethos of the programme is to encourage creativity and the
creation of professional products that evidences informed reflection and a creative approach to
problem-solving.
7 Will be critical thinkers: able to
express their ideas in written and oral form, and possessing
information literacy
Students will present themselves
and their ideas in a multitude of ways including: the ability to
critically analyse, conceptualise and communicate key concepts and conduct research within the field of
Music Production.
8 Will be ethically aware: prepared for
citizenship in a local, national and global context
Throughout the programme, the
spirit of community will be engendered. Ethical awareness and
collaboration are integral to the socio-cultural aspects of music production; these concepts are
instilled through work-based learning and, professional and
academic development.
Your Foundation Degree classification
To be awarded a Foundation Degree, you will have successfully completed year 1
and year 2, and been awarded 240 credits in total. Only module marks achieved
at Level 5 (in year 2) count towards your Foundation Degree classification.
Students can achieve a pass, merit or distinction, depending on their final
percentage. We calculate the percentage by taking the mean of all module
marks taken at Level 5 and classify as follows:
Distinction: 69.5% and above (≥70%)
Merit: 59.5 to 69.49% (60-70%)
Pass: 40 to 59.49% (40-60%)
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Progressing onto Honours Degree
You can top-up your Foundation degree to a full Bachelors (Honours) degree at
UCW University Campus by completing an additional year of study at level 6 on
the BA in Professional Music Performance and Production.
To be eligible for progression you must have gained 240 credits, 120 credits at
Level 4 and 120 credits at Level 5. The deadline for applications is usually on or
before 1st May in the final year of Foundation Degree studies.
Your tutor will arrange a meeting with the Course Coordinator at UCW to discuss
the modules on offer on the top-up degree and answer any questions that you
may have. You are also encouraged to attend BA (Hons) lectures and workshops
to find out more about the programme.
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4. Learning environment
Learning and teaching methods
UCW has a Learning and Teaching Strategy for Higher Education, which
underpins our approach.
We intend that the learning programme should be both stimulating and
demanding, and should lead you through progressive stages of development,
towards increasingly complex and open-ended tasks, increasingly sophisticated
application of intellectual/conceptual and personal (transferable) skills, and
increasingly independent study.
A variety of learning methods will be used, which might include:
Lectures
Seminars
Experiential learning
Reflective learning
Skills practice
Group work and group discussions
Workshops
Fieldwork
Supervised studio/lab-based activity
Case studies
Student presentations
Information and communications technology (ICT) based activities
Visiting speakers/expert practitioners will be used during the programme
UCW actively encourages the development of technology enhanced learning and
you will find staff utilising new teaching methods to enhance your learning
experience.
Work-based Learning
During the first year there will be a residential visit to a modern state of the art
recording studio where you will spend several days recording bands in a real
world situation.
During your second year you will work with other students to organize a series
of live music events. You will have an opportunity in these projects to fulfil a
variety of roles in the areas of live sound, marketing, logistics and stage
management. You will also have the opportunity to lead a team of other
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students. Lecturers will only oversee and support this process, it will be you as
budding industry professionals who have the decision-making power.
In addition to this UCW has also been successful in developing a number of
industry links that have allowed students to spend a week working in a recording
studio. In order to obtain one of these positions you will be expected to take a
proactive role in finding an appropriate placement.
Personal development planning
Throughout the course you will be asked to consider your level of skill and
understanding and plan ways to progress both through directed study and more
independently organized work. Lectures will generally provide areas for further
investigation and you will be supported in determining and pursuing the
specialisms you wish to develop. In your work for Understanding Music and
Sound, Live Sound and Events Management and Producing and Marketing Your
Music you will have specific opportunities to develop key specialisms but in all
areas you will be expected to consider how your skills, interests and aptitudes
might be developed to successfully engage the music industry. A key aspect of
this process is the ability to reflect maturely and fruitfully on your practice and
this will be encouraged both formally and informally throughout the course.
Project work
Most of your work on your Foundation Degree will be project work. Your
deadlines will tend to be grouped around particular dates, which means that you
will need to develop effective time-management strategies. You will have
numerous opportunities to receive feedback on your projects as you work on
them but the responsibility for meeting deadlines as well as setting and meeting
interim deadlines will be yours. This is a vital skill for any professional
occupation and will be one of the most important abilities developed on the
course.
Other resources
The FdA degree is equipped with a state of the art recording studio comprising a
32 channel analogue Toft mixing desk, a wide selection of outboard effect,
processors, Dynaudio monitors and a wide range of classic microphones.
In addition you will have access to a Mac computer workstation containing the
latest industry standard audio software.
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5. How quality is assured
Quality monitoring and evaluation
The programme you are studying was approved by Bath Spa University. As part
of the approval process it was assured that
The content of the programme met national benchmark requirements;
The programme met any professional/statutory body requirements; and
The proposal met other internal quality criteria covering a range of issues
such as admissions policy, teaching, learning and assessment strategy and
student support mechanisms.
This was done through a process of programme approval which involves
consulting academic experts including subject specialists from other institutions
and industry.
How we monitor the quality of this programme
The quality of this programme is monitored each year through evaluating:
External examiner reports (considering quality and standards);
Statistical information (considering issues such as the pass rate); and
Student feedback including the National Student Survey (NSS).
Drawing on this, and other, information programme teams undertake an annual
monitoring process, in accordance with the University's quality policy.
Once every six years an in-depth review of the subject area is undertaken by a
panel that includes at least two external subject specialists. The panel considers
documents, looks at student work, speaks to current and former students and
speaks to staff before drawing its conclusions. The result is a report highlighting
good practice and identifying areas where action is needed.
The role of the Programme Committee
This course has a Programme Committee comprising all relevant teaching staff,
student representatives and others who make a contribution towards its effective
operation (e.g. library/technician staff). The Programme Committee has
responsibilities for the quality of the programme and plays a critical role in the
University's quality assurance procedures.
External examiners
The standard of this programme is monitored by at least one external examiner.
External examiners have two primary responsibilities:
To ensure the standard of the programme; and
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To ensure fairness and equity.
The external examiner for your programme is:
Name Role in institution Name of institution
Jan Butler Lecturer Oxford Brookes University
As part of their role, external examiners complete an annual report for the
University commenting on the learning, teaching and assessment standards of
the modules and the programme overall. The report will highlight areas of good
practice and identify areas for development, as well as provide assurance that
your programme is of an equable standard to similar HE provision nationally.
External examiner reports, and the University’s response, are shared with
students. They are normally discussed at Staff/Student Liaison Committees and
made available online, via Moodle.
External references
The following methods are used for gaining the views of other interested parties:
Feedback from former students
Feedback from employers
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6. General course information
Staff Profiles
Dr Niall Thomas
After studying for a BA (Hons) in Creative Music Technology and a Masters in
Sonic Arts, Niall has recently completed a doctorate in Music at the University of
Hull. His thesis explored the relationship between the development of Music
Technology since 1969 and how this has influenced the production of recorded
Heavy Metal music. Niall’s research has been presented internationally at
conferences such as The Art of Record Production.
Aside from academic work Niall has been an independent touring multi-
instrumentalist since 2003 and has worked as a recording studio engineer
alongside renowned record producers since 2011.
Niall’s main areas of interest and specialisms include Rock and Pop production,
live performance, creative recording studio practice, and using music technology
to encourage inclusion in diverse settings.
Lee Sullivan
Prior to commencing a career in teaching in 1998, Lee worked as a professional
session musician (bass guitar), musical director and studio engineer. He has
toured extensively throughout the UK, Europe and worldwide working for
organisations such as Mecca, Rank, The Hilton Hotel Group and P&O, and has
also worked for numerous theatre companies as a pit musician and musical
director. Alongside his career as a professional musician, Lee has also worked as
a studio engineer, producer and as an artist and repertoire representative.
Lee’s main areas of interest and specialisms include sound design, composing for
film and TV, electro acoustic composition, technology driven performance and
open structures in the design of computer based performance environments.
Lee is an Apple Certified Logic Studio Master Trainer and was also awarded the
coveted status of Ableton Certified Trainer in 2009; this enables him to deliver
certified accredited music production and performance software training to all
students enrolled on the programme of study.
Kim Johnson
Whilst studying BA Commercial Music at Bath Spa University, Kim worked as a
songwriter and touring musician for a Bristol based record label. Since
graduating she has developed her own arts company showcasing dance, theatre
and media in Bath. Her passion for the performing arts extends beyond
performance, and into the management and production of live events. Kim also
works as a freelancer within the music industry, most notably as the Traffic and
Access Coordinator of the John Peel Stage, at Glastonbury Festival.
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As Subject Area Manager in Music and Media at UCW, her specialist teaching
areas include Songwriting, Performance and Music Business.
Wendy Slade
Wendy is the HE Librarian for UCW’s degree level courses. She is educated to
Masters Level with an MSc in Information and Library Management from Bristol
University (2005). She also holds a teaching qualification and BA (Hons) in
Language and Communication from Cardiff University. Wendy has carried out
research projects in the field of learning environments, the needs of the learner
and study skills delivery. Wendy delivers the HE Library Plus ‘HELP’ study skills
programme which introduces the key skills and core resources learners require
for HE level research.
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7. Module Descriptors
Level 4 Modules
1 Module code WM4011-40
2 Module title Creative Audio Applications
3 Subject field Digital Academy
4 Pathway(s) n/a
5 Level 4
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 weeks
15 Main campus location UCW University Campus
16 Module co-ordinator Lee Sullivan
17 Additional costs involved n/a
18 Brief description and aims of module
The key aim of this module is to give students a thorough knowledge of industry-standard audio
applications. Students will gain a range of transferable creative skills in the areas of: analogue
and digital audio manipulation; creative hardware applications; digital audio workstations; MIDI
programming; mixing; sampling, and synthesis.
A further aim of this module is to expose students to the creative potentials of digital and
analogue audio applications when used in different contexts (circuit bending and basic
instrument design, for example). It will also focus on wider considerations of industry practice
and procedures for creative work.
19 Outline syllabus
This module will extensively explore varied creative audio applications and apply these within
creative projects. By way of extensive practical activity students will develop an understanding
of digital and analogue audio theories in practice.
Indicative areas of study include:
Use of Digital Audio Workstations (Logic Pro X & Ableton Live)
Exploration of Analogue and Digital Synthesis
The origins and uses of MIDI for composition and control
Circuit Bending and creative audio application design
Analysis of the history, and various uses, of sound generating tools
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and, is further
supported by online resources. Students will have opportunities to practice techniques learnt
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from the lecture series and apply them to their own projects, as well as the core creative projects
that form the summative assessments.
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. The employment of a chosen audio software package to meet the
requirements of a professional brief.
2. Understanding and application of professional practice in audio production
across a multitude of industry formats.
3. Knowledge and understanding of synthesis and sampling techniques.
4. Evidence an understanding of the creative audio industry and apply
appropriate research skills and critical analysis.
How assessed
S1, S3
S3
S1
S2
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Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
F3. Presentations
Summative assessments:
S1. Creative Portfolio 1 (2500 word equivalent)
S2. Research Project (2500 words)
S3. Creative Portfolio 2 (5000 word equivalent)
Weighting%
25%
25%
50%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List: Burgess, J. (2012) YouTube: Digital Media and Society. Polity Press. Collins, N. (2006) Handmade electronic music: the art of hardware hacking. Taylor & Francis.
Cousins, M. (2014) Logic Pro X: Audio and Music Production. Focal Press. DeSantis, D. (2015) Making Music: A Book of Creative Strategies. Ableton Publishing. Hesmondhalgh, D. (2007) The Cultural industries, London: Sage. Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide. New York University Press. Katz, B. (2007) Mastering Audio: The Art and the Science. Focal Press. Nahmani, D. (2013) Apple Pro Training Series: Logic Pro X. Peachpit Press. Pejrolo, A. (2011) Creative Sequencing Techniques for Music Production. Focal Press Robinson, K., 2014. Ableton Live 9. CRC Press. Rothermich E. (2013) Logic Pro X – How It Works. Create Space Independent Publishing.
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Rothermich , E. (2015) Logic Pro X- The Details (Part 1 + 2). Create Space Independent Publishing. Russ, M. (2012) Sound Synthesis and Sampling. Focal Press
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of audio applications in the context of their own
creative practice. Students will also have access to pre-set reading and electronic learning
resources that should be explored before and during the lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
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1 Module code WM4012-40
2 Module title Recording Studio Practice
3 Subject field Digital Academy
4 Pathway(s) N/A
5 Level 4
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 weeks
15 Main campus location UCW University Campus
16 Module co-ordinator Tony Hobden
17 Additional costs involved N/A
18 Brief description and aims of module:
The core aim of this module is to equip students with a thorough understanding of the recording
studio environment and the methods of recording, storing and propagating sound. Recording
Studio Practise balances practical and theoretical approaches to recording and mixing
contemporary music, with the creative potential of analogue and digital music production
hardware. Students will begin to develop a professional work ethos and understanding of the
varying roles and responsibilities of music professionals.
Students will reflect upon the technical processes employed, production decisions made, and
approach to working both individually and collaboratively.
19 Outline syllabus
This module will involve extensive exploration of studio environments/technologies. Students
will be given a systematic introduction to key processes that underpin studio practice as well as
many of the skills and approaches employed in the recording of popular music.
Indicative areas of study include:
Recording Studio Hardware and Software
Pre and Post-Production Processes
Industry Approaches to Studio Practice
Microphone Technique
Stylistic Approaches to Recording
Recording Studio History
Exploration of Key Practitioners
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and is further
supported by online resources. Students will have opportunities to practice techniques and apply
them to their own projects as well as the core research and creative projects that form the
summative assessments. Teaching will be primarily in the form of hands-on workshops, allowing
each student as much tactile experience of industry standard equipment as possible. Lectures
22
and workshops will be delivered from an industry standard recording studio environment, with
complimentary sessions (including some exploration of Avid software) making use of music
workstations to allow greater student access and learning. Students can book the studios from
the start of the course and are expected to make extensive use of the facilities throughout the
year as well as employing them to complete assessed project work.
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. Competence and skill in the use of a range of studio hardware and software
in a variety of production contexts.
2. Ability in the application of different approaches to industry standard studio
recording and mixing concepts.
3. The creative application of studio techniques and evidence of innovation and
experimentation
4. The ability to develop professional relationships and effective communication
skills with musicians and colleagues in a studio setting
How assessed
S1, S2, S3
S1, S2
S3
S1, S3
22
Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
Summative assessments:
S1. Recording Portfolio 1 (10 minutes – equivalent 2500 words)
S2. Technical Report (2500 words)
S3. Recording Portfolio 2 (20 minutes – equivalent 5000 words)
Weighting%
25%
25%
50%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List:
Bazil, E. (2009) The Art of Drum Layering. PC Publishing.
Bazil, E. (2009) Sound Equalisation Tips and Tricks. PC Publishing.
Collins, M. (2014) Pro Tools 11 Music Production, Recording, Editing and Mixing. Focal Press
Izhaki, Roey (2011) Mixing Audio: Concepts Practices and Tools. Focal Press
Huber, David (2013) Modern Recording Techniques. Focal Press.
Katz, Bob (2007) Mastering Audio: The Art and the Science. Focal Press.
Massey, Howard - (2009) Volume 2 Behind The Glass: Top Record Producers Tell How They Craft
the Hits. Backbeat Books.
Owinski, Bobby (2009) The Drum Recording Handbook. Music Pro Guides.
Scott, Ken (2011) Epic Drums: Guide to Recording and Mixing Drums. Alfred Publishing.
Senior, Mike (2011) Mixing Secrets For the Small Studio. Focal Press
23
White, Paul (2011) The Producer’s Manual. Sample Magic
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of recording studio techniques in the context of
their own creative practice. Students will also have access to pre-set reading and electronic
learning resources that should be explored before and during the lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
24
1 Module code WM4013-40
2 Module title Music Production in Context
3 Subject field Digital Academy
4 Pathway(s) n/a
5 Level 4
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 weeks
15 Main campus location UCW University Campus
16 Module co-ordinator Lee Sullivan
17 Additional costs involved n/a
18 Brief description and aims of module:
Students will gain an understanding in the technical principles of music and sound, as well as
developing an understanding of musicological principles that surround Music Production and
Technology, through academic research and critical analysis skills. The aim of this module is to
provide a theoretical background as well as allowing students to consider music as a socio-
cultural and technological phenomenon. Creative application of the principles and techniques
from the lecture series will be explored through a portfolio of work, demonstrating a balance of
theoretical understanding and creative application of music production tools.
Students will be provided the opportunity to research, in depth, an area of particular interest
relevant to the lecture and seminar series.
19 Outline syllabus
The module forms the principal academic thread at Level 4 but teaching and learning will involve
extensive practical activity so that students can relate theory and practice. By balancing practical
exploration of sound and acoustic phenomena, and the socio-cultural appropriations of music
technology this module provides the opportunity for students to analyse and explore music
production as a science and an art. This would lead to projects based on the creative use of audio
processing or the implementation of acoustic principles for creative sound design, with both
being informed by academic research.
Indicative areas of study include:
The Science of Sound and Acoustics
Key Musicological Concepts – i.e. The ‘Art’ of Music Production
Key Production Concepts in Context – i.e. Creative Compression
The Socio-cultural Impact of Technology on the Music and Recording Industries
Transformative Music Technology
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and is further
supported by online resources. Students will have opportunities to practice techniques and apply
them to their own projects as well as the core research and creative projects that form the
25
summative assessments. Evidence of learning will be demonstrated through a creative portfolio,
research essays and presentations. Presentation of their research will encourage peer learning,
independent research and scrutiny of research outcomes.
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. The ability to identify, explain and contextualise a range of sophisticated music
production techniques.
2. A developed understanding of the subject area and be able to articulate the
influence of different technologies that have shaped the history of music
production and the recording industry.
3. The skills and knowledge to evaluate the principles and behaviour of sound
and the sonic effects of the environment.
4. The application of theory to practice and the selection of appropriate
techniques in the creation of original work
How assessed
S2, S3
S2, S3
S1
S2
22
Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
F3. Presentation
Summative assessments:
S1. Poster Presentation (2000 words equivalent)
S2. Creative Portfolio (4000 words equivalent)
S3. Research Essay (4000 words)
Weighting%
20%
40%
40%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List:
Bayley, A. (ed) (2010) Recorded Music: Performance, Culture and Technology Cambridge:
Cambridge University Press.
Beard, D. and K. Gloagg. (2005). Musicology: The Key Concepts. New York: Routledge.
Chanan, Michael (1995) Repeated Takes: A Short History of Recording. Verso Books.
Corey, Jason (2010) Audio Production and Critical Listening: Technical Ear Training. Focal Press
Cox Trevor (2014) Sonic Wonderland: A Scientific Odyssey of Sound. Bodley Head.
Everest, Alton (2005) Critical Listening Skills for Audio Professionals. Course Technology Inc.
Frith, S. (1998). Performing Rites: On The Value of Popular Music. Cambridge: USA: Harvard
University Press.
Frith, S. and Zagorski-Thomas, S., (2012). The Art of Record Production. Farnham: Ashgate.
Gracyk, T. (1996). Rhythm and Noise: An Aesthetics of Rock. London: Duke University Press.
26
Katz Mark (2010) Capturing Sound: How Technology Has Changed Music.
University of California Press.
Milner Greg (2010) Perfecting Sound Forever - The Story of Recorded Music.
Granta Books.
Morton, David (2006) Sound Recording: The Life Story of a Technology. John Hopkins University
Press
Taylor, Timothy (2011) Strange Sounds: Music Technology and Culture.
Welch, Walter (2006) From Tinfoil to Stereo: The Acoustic Years of the Recording Industry.
University Press of Florida.
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of musicological concepts and production
techniques in the context of their own creative practice. Students will also have access to pre-
set reading and electronic learning resources that should be explored before and during the
lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
27
Level 5 Modules
1 Module code WM5011-40
2 Module title Sound for Media
3 Subject field Digital Academy
4 Pathway(s) n/a
5 Level 5
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 week
15 Main campus location UCW University Campus
16 Module co-ordinator Lee Sullivan
17 Additional costs involved n/a
18 Brief description and aims of module:
The creative use of sound and music with picture is fast becoming the most sought after skill in
the creative industries. This module will introduce students to the process of sound design and
music composition for film, TV, computer games and multimedia. The module will explore the
creative and technical challenges of creating sound for the moving image and the use of music
and sound to support and enhance narrative structures. Students will be encouraged to think
laterally and inventively in dealing with sound, music and picture relationships.
19 Outline syllabus
This module will introduce students to the process of sound design and music composition for
film, TV, computer games and multimedia. The module will explore the creative and technical
challenges of creating sound for the moving image and the use of music and sound to support
and enhance narrative structures. A critical understanding of a range of sound design and music
solutions will be developed, evidenced through portfolio work and research-led academic
writing. Through exposure to a multitude of industry standard creative processes students will
develop the necessary transferable skills to produce, and analyse, sound for media to
professional quality.
Indicative areas of study include:
A History of Sound and Music for Media
The Role of Sound and Music in Film and TV
Game Audio
Sound Design
Foley Recording
Post-Production Techniques
Alternative Approaches to Sound for Media
28
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and is further
supported by online resources. Students will have opportunities to practice techniques and apply
them to their own projects as well as the core research and creative projects that form the
summative assessments. All material from the lecture series can be revisited using the VLE
(Moodle).
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. The ability to demonstrate a range of techniques and processes in creating sound for media.
2. Skills in academic writing, research and critical analysis
3. The ability to relate and apply theory to creative practice.
4. In-depth knowledge and understanding of the key principles and
conventions used in sound design for media applications
How assessed
S1 S3
S2
S1 S3
S1 S2 S3
22
Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
F3. Peer Presentations
Summative assessments:
S1. Creative Portfolio 1 (3500 word equivalent)
S2. Research Essay (1500 words)
S3. Creative Portfolio 2 (5000 word equivalent)
Weighting%
35%
15%
50%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List:
Collins, Karen (2008) Game Sound: An Introduction To The History, Theory and Practice of Video
Game Music and Sound Design. MIT Press.
Davis, Richard (2010) Complete Guide To Film Scoring. Berklee Press.
Farnell Andy (2010) Designing Sound. MIT Press.
Kalinak, Kathryn (2010) Film Music: A Very Short Introduction. OUP USA.
Miles, Dean (2014) Location Recording Simplified. Focal Press.
Schaeffer Pierre (2013) In Search of A Concrete Music. University of California Press.
Stevens Richards (2015) Game Audio Implementation. Focal Press.
Saltzman, Steven (2014) Music Editing For Film and Television.
29
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of techniques used by multimedia composers in
the context of their own creative practice. Students will also have access to pre-set reading and
electronic learning resources that should be explored before and during the lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
30
1 Module code WM5014-40
2 Module title Advanced Music Production
3 Subject field Digital Academy
4 Pathway(s) n/a
5 Level 5
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 weeks
15 Main campus location UCW University Campus
16 Module co-ordinator Dr Niall Thomas
17 Additional costs involved n/a
18 Brief description and aims of module:
The module aims to develop the critical and practical skills learned that have been developed
across all modules at level 4. Stylistic approaches to music production will be developed and
analysed using integrated hardware and software solutions. Advanced music production
methods will be explored using case studies of historical and current industry professionals. A
key focus of Advanced Music Production will be combining industry standard practise with an in-
depth understanding of musicological concepts that surround the ‘art’ of music production.
19 Outline syllabus
This module will involve extensive exploration of advanced music production processes and
technologies. Students will explore and engage in critical discussion surrounding the creative use
of the recording studio and the tools within it. There will be substantial focus on the further
development of critical musicological skills, embracing socio-cultural and technological concepts
that influence music production practitioners. Industry standard software training forms the core
instructional element of the module (Pro Tools HD) building on the exploration of DAW’s at level
4. Not only does this develop transferable skills, it encourages students to build a knowledge base
of a variety of digital music production tools allowing them to move freely between different
professional environments.
Indicative areas of study include:
Advanced Digital Audio Workstation use
Extended musicological principles and concepts
Critical analysis of discrete production processes
Creative application of digital audio tools
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and is further
supported by online resources. Students will have opportunities to practice techniques and apply
them to their own projects as well as the core research and creative projects that form the
summative assessments. Teaching will be delivered by way of a combination of group sessions,
lectures and hands-on workshops, master classes and will cover industry standard advanced
production skills and techniques. Students can book the studios from the start of the course and
31
are expected to make extensive use of the facilities throughout the year as well as employing
them to complete assessed project work.
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. The ability to use of a range of advanced audio tools (both hardware and
software) in a variety of professional pre and post-production contexts.
2. A range of sophisticated music production techniques.
3. Advanced technical and creative skills to produce a final professional audio
product.
4. An in-depth understanding of critical approaches to music production as a
social phenomenon through socio-cultural, historical, and technological
investigation.
How assessed
S1 S3
S1 S2
S3
S2
22
Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
F3. Peer Presentations
Summative assessments:
S1. Emulation Project (2500 words equivalent)
S2. Research Essay (2500 words)
S3. Creative Portfolio (5000 word equivalent)
Weighting%
25%
25%
50%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List:
Bazil, Eddie (2009) The Art of Drum Layering. PC Publishing.
Bazil, Eddie (2009) Sound Equalisation Tips and Tricks. PC Publishing.
Collins, Mike (2014) Pro Tools 11 Music Production, Recording, Editing and Mixing. Focal Press
Izhaki, Roey (2011) Mixing Audio: Concepts Practices and Tools. Focal Press
Huber, David (2013) Modern Recording Techniques. Focal Press.
Katz, Bob (2007) Mastering Audio: The Art and the Science. Focal Press.
Massey, Howard - (2009) Volume 2 Behind The Glass: Top Record Producers Tell How They Craft
the Hits. Backbeat Books.
Owinski, Bobby (2009) The Drum Recording Handbook. Music Pro Guides.
Scott, Ken (2011) Epic Drums: Guide to Recording and Mixing Drums. Alfred Publishing.
Senior, Mike (2011) Mixing Secrets For the Small Studio. Focal Press
32
White, Paul (2011) The Producer’s Manual. Sample Magic
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of musicological concepts and advanced
production techniques in the context of their own creative practice. Students will also have
access to pre-set reading and electronic learning resources that should be explored before and
during the lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
33
1 Module code WM5015-40
2 Module title Audio Visual Technologies
3 Subject field Music Production
4 Pathway(s) n/a
5 Level 5
6 UK credits 40
7 ECTS credits 20
8 Core or Compulsory or Optional Core
9 Acceptable for FdA Music Production
10 Excluded combinations n/a
11 Pre-requisite or co-requisite n/a
12 Class contact time: total hours Total Hours: 104
13 Independent study time: total hours Total Hours: 296
14 Duration of the module 30 weeks
15 Main campus location UCW University Campus
16 Module co-ordinator Tony Hobden
17 Additional costs involved n/a
18 Brief description and aims of module:
The ever-increasing shift towards live production for contemporary musicians (performers and
producers alike) reflects the commercial movement away from the traditional record industry
model. More and more artists, and producers, are looking for creative ways to maintain income
from live productions. This module will expose students to the varied technologies that populate
live music, art, and events productions. This module aims to integrate digital technologies into
live performance, alongside a thorough understanding of live sound reinforcement, audio-visual
applications and appropriate promotion and commercial strategies for working in the live
production arena.
19 Outline syllabus
In the first semester students will study live sound systems, including their setup and operation,
as well as building a working knowledge of other creative applications of technology within the
live production industry. This may include (but not exclusively): live sound reinforcement and
spatialisation (surround diffusion); live art installations; kinetic sculptures; projection mapping;
and collaborative practise with performers from outside of their subject area.
In the second semester students will learn how to organise and manage an audio-visual event
including the logistics, stage management, risk assessment, financial planning, health and safety.
Students are asked to create a portfolio of evidence detailing planning of the event to which you
have contributed. This might include publicity material, evidence of marketing and film of the
event. There will an opportunity to participate in a range of events locally and nationally.
Students will produce a portfolio of evidence that showcases their creative work and document
their understanding of effective and targeted promotion strategies.
20 Teaching and learning activities
The lecture series will be complimented by seminars, workshops, guest lecturers and is further
supported by online resources. Students will have opportunities to practice techniques and apply
them to their own projects as well as the core research and creative projects that form the
summative assessments.
34
21 Intended learning outcomes
By successful completion of the module, you will be able to demonstrate:
1. A thorough understanding of the technical procedures undertaken in the
practice of live sound
2. The ability to work autonomously and responsibly in an events industry
environment
3. The ability to reflect critically and effectively evaluate a range of creative
live production practices.
4. Effective planning, organization and promotion skills in the context of live
events
How assessed
S1
S1 S3
S2
S3
22
Assessment and feedback
Formative exercises and tasks:
F1. Work in Progress Seminars
F2. Milestones
F3.Presentations
Summative assessments:
S1. Live Sound Assessment (2500 word equivalent)
S2. Research Essay (2500 words)
S3. Events Management Project (5000 word equivalent)
Weighting%
25%
25%
50%
23 Learning resources
University Library print, electronic resources and EBSCO:
Reading List:
Baker Bob (2012) Guerrilla Music Marketing Online.Boston. Spotlight Publications.
Biederman, Raven (2013) Basic Live Sound: A Practical Guide. Focal Press.
Bladen, Charles (2012) Events Management. An Introduction. Routledge.
Bailey, John (2013) Glastonbury: A Complete History of the Festival. Halsgrove
Boonstra, Gregg (2014) Mixing Live Sound: An Application Guide For The Audio Technician. Create
Space.
Boyce, Teddy (2014) Introduction to Live Sound Reinforcement
Gibson, Bill (2011) The Ultimate Live Sound Operator’s Book. Hal Leonard.
Knab, Chris and Bartley Day (2013) Music Is Your Business. Four Front Media.
Knopper, Steve (2009) Appetite For Self Destruction: The Spectacular Crash of The Record
Industry in The Digital Age. Simon and Schuster Ltd.
Owsinski Bobby (2013) Social Media Promotion for Musicians. BOMG
35
Reynolds, Andy (2012) Roadie Inc: How To Gain and Keep a Career in the Live Music Industry.
Createspace.
Smotherman, Joshua and Bret Campbell. (2015)
White, Paul (2014) The SOS Guide TO Live Sound. Focal Press.
Current Journals and Popular Music Press:
Popular Music (print at Weston, BSU online)
Popular Music History (BSU online)
Popular Music and Society (BSU online)
Music Trades (BSU online)
Key web-based and electronic resources:
Oxford Music Online (BSU)
Naxos Music Library (BSU)
Garland Encyclopedia of World Music Online (BSU)
Rock’s Backpages (BSU)
Mintel (Weston and BSU)
MAC Pro video www.macprovideo.com
Groove 3 - www.groove3.com
Musicnotes.com www.puremix.net
Lynda www.lynda.com
Specialist resources:
Apple Mac Computer Suite
2 Industry standard Recording Studios
Logic Pro X
Pro Tools 12 HD
Ableton Live
24 Preparatory work
Students are encouraged to explore a range of audio visual applications in the context of their
own creative practice. Students will also have access to pre-set reading and electronic learning
resources that should be explored before and during the lessons.
Students also have access to various learning facilities that will help them to explore tasks set
within the module as well as creative exploration of their own practice.
36
8. Appendices
Appendix 1 - HE Policies and Procedures
Policies relating to HE Students can be found on Moodle at:
https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970
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