1. BA (Hons) Creative Sound And Music
2009/10
ENCLOSED ARE THE HANDBOOKS FOR THE
FOLLOWING MODULES:
YEAR ONE Semester One
Creative Music Practice Part One G106943
Creative Music Practice Part One G106944
Musicology of the 20th Century G106002
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2. Welcome to the Creative Sound and Music programme at the University
of Wales, Newport and well done for getting a place here. Over the next
three years you’re going to be exploring sound and music from a number
of diverse and challenging perspectives. This document is intended as a
guide to the programme of study you're about to start and includes your
module handbooks as well as some important information you’ll need to
support your studies. It also supplements the validated programme
document.
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3. Staff Contacts
Academic
Matthew Lovett
Programme Leader and Senior Lecturer in Composition,
Performance, Improvisation and Critical Musicology
E: matthewlovett@newport.ac.uk
T: 01633 432608
Tim Land
Lecturer in Business and Production
E: tim.land@newport.ac.uk
T: 01633 432671
Nic Finch
Lecturer in Music Media
E: nic.finch@newport.ac.uk
T 01633 430088
Technical
Matt Jackson
Senior technician
E: matthew.jackson@newport.ac.uk
T: 01633 432602
Aidan Taylor
Jamie Thomas
Student Technicians
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4. Summary of Deadlines:
Semester One
Creative Music Practice Part One 9th November
Creative Music Practice Part Two 18th December and 15th January
Musicology of the 20th Century 11th and 12th January
The modules carry 20 credits each at Level 4
How to hand in written submissions
Unless otherwise stated, all written submissions to be made to SAMD Reception
Desk, Caerleon Campus. You must retain your receipt.
You will also be required to submit some module assignments electronically.
Details of this will be provided during the lecture series.
Your priorities and responsibilities
• Read this handbook carefully and retain it for future reference.
• Read project briefs carefully.
• Attend all sessions and be on time. If you are unable to make a session -
especially practical sessions and rehearsals - you must let your tutor know
as soon as possible. The understanding of the material that you show in
practical sessions can affect your grades.
• Submit work on time.
• Be an active member of the group and respect your colleagues.
• If you do not understand something in this handbook, or have any questions
or concerns at any point in the module, contact the lecturers as soon as you
can in teaching sessions or by e-mail.
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5. Studio Rules
All students are expected to observe the rules when using the sound studios and
equipment:
• No food or drink to be consumed in the space
• Leave the space tidy. Clear away equipment, furniture and chairs. Take your
personal belongings with you
• Studio cancellations must be made 24 hours in advance, failure to do so
may result in a ban on studio / equipment use
• Studios are only to be used by students enrolled at the University of Wales,
Newport
• Students are expected to follow health and safety instructions at all times
and not to engage in any activity which could endanger themselves or
others. If In doubt you must check with a tutor or the technician
Studio and Stores Times
CSM Technicians will be available at the following times Monday – Friday:
Stores Returns 4.30 – 5pm
Stores / Studio Bookings 5 – 6pm
It is essential that you present your Student Skills Passport when making
bookings. Late return of items or misuse of studios will result in bans being
implemented.
Stores booking forms and conditions of use
Please photocopy the attached forms in order to make stores bookings. Students
are advised to plan their use of equipment well in advance, in order to facilitate
their own and each other’s ease of study. You will receive instruction in the use of
the equipment in the studio and for any other equipment that you will be expected
to use. You are expected to use this equipment with respect and due regard for
safe working practices. You must ask for advice if required. All equipment should
be turned off after use.
Studio time
Year One Semester One students have been not been allocated recording studio
hours during the module, as their studies will not require multi-track facilities
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6. Communication
mLE
You can download selected course documents, such as timetables and booking
forms from the My Learning Essentials web area. You can also access the
Library, Mail, Study Zone and information on Study Skills.
www.my.newport.ac.uk
SMS
The Creative Sound and Music programme use an SMS information service. It’s
been found to be the easiest and fastest way of informing you of any last minute
changes or sending reminders – so please keep us up to date with any changes
to your mobile telephone. Number. This can be done online via the mLE or at the
student desk
Email
The academic board has agreed that emails sent to your University email
account are a legitimate form of communication (that is equivalent to paper-
based communication). You are advised to check your University email account
on a regular basis.
Project Folders
For all modules, you are expected to keep a project / research folder. This is not a
diary. It should contain the main learning points of sessions, your independent
research, ideas, audio and visual sketches, photographs, designs, technical
plans, rehearsal schedules and any other documentation that has contributed to
the development and realization of the relevant project. For some modules, this
folder will be in digital format
Essays
• Essays must be word-processed, double-spaced and should be checked
for spelling and grammar.
• The essay should address itself directly to the question set and show
evidence that it has been planned with an introduction and a logical
presentation of ideas leading to a conclusion.
• All work must be your own and be properly referenced.
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7. Presentations
For a number of your modules, you will be expected to formally present and
discuss your work. You will be assessed in a similar way to a piece of written work,
in that the assessors will be looking for evidence of research, understanding,
analysis, clarity of thought and the ability to communicate your Ideas and opinions.
These presentations may be individual or group and they may take place with one
or more internal assessors. Occasionally they may be lead or observed by the
external examiner.
Transparency in Group Assessment
The nature and success of practical work requires collaborative working. Group
work requires each team member to effectively participate in all the activities
throughout the process. The grade for the group work will reflect the working
processes and the overall success of the final outcome [performance, workshop
or presentation]. When grading tutors will usually award a 'core' grade for the
project applicable to all members of the group. However, they may also adjust the
marks of individual members of the group equitably to reflect the individual's
contribution. This will be supported by evidence gathered from individual research
and project folders. When engaged in group work, all members of the group are
expected to work as part of the production team, and this is reflected in the
assessment process
What your grades mean
Practice-based Projects
A16/A15/A14:
A First at degree level is work of outstanding overall quality. It will consist of
an original and ambitious project/performance, which has achieved its goals with
a excellent of technical competence. It will be informed both by the strength of its
original idea(s) and an appropriate and distinctive structure. It will have been well
researched / planned and exhibit a highly developed critical awareness and
conceptual understanding of the medium.
B13/B12/B11:
A 2.1 at degree level is work that achieves a very high overall standard. The
work will have achieved its goals and will demonstrate a significant degree of
imagination and ambition with a very good level of technical competence. It will
be well structured. It will show significant evidence of research/planning and
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8. demonstrate a strong critical awareness and conceptual understanding of
the medium.
C10/C9/C8
A 2.2 at degree level is work of a good overall standard showing
understanding of conventions, although these may be limited. It will have
achieved some of its primary goals. Technically it will be competent with a
recognisable structure. It will be based on a degree of research/planning and
exhibit some critical awareness and conceptual understanding of the
medium.
D7/D6/D5
A Third at degree level is work with some ability to communicate and an
overall satisfactory – weak standard. It demonstrates some understanding of
conventions and it is likely that its goals will have been achieved to only a limited
extent. Technical competence will range from adequate to poor and it will lack a
clear structure. It will show evidence of minimal research/planning and indicate
some critical or conceptual understanding of the medium.
E4/F3/F2/F1
A Fail at degree level is work of overall poor to very poor quality. Its
technical standard, content and structure will be extremely weak. Its goals will be
confused and/there will have been little attempt to achieve them. There will be
no evidence of original research or understanding of the medium.
Written Work
A14-A16 (First Class degree level)
Outstanding work that conveys not only mastery of the basic material and a
grasp of conceptual issues, but also sustains a focus of investigation. It will show
significant original and independent thought with a high level of analysis
communicated with articulate and accurate expression. A wide range of primary
and secondary texts will have been used with confidence. Work at the top end of
this range will show a high degree of flair, scholarship and originality. Students
will have shown a very detailed knowledge of the subject and presented an
argument in a sophisticated way. There will be evidence of independent reading,
and research that is organised with outstanding clarity and shows an ability to
evaluate material critically.
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9. B11-B13 (Upper Second Class Degree Level)
Very good work which demonstrates a clear understanding of conceptual issues
and of the basic material of the course and the ability to apply critical and
analytical skills with a good degree of fluency and accuracy. Work at this level
should present a well-structured, coherent argument showing an ability to
synthesise ideas based on research and reading. Work at the upper end of this
range may be showing some, but not all, of achievements at the higher levels.
C8-C10 (Lower Second Class Degree Level)
A good piece of work in which understanding of the basic material is
demonstrated, together with some degree of awareness of critical issues and a
certain amount of ability to deal with conceptual issues. The structure of the
argument may be loose and although expression should be accurate, occasional
stylistic or syntactical problems may occur. Work at this level may indicate an
over-reliance on obvious secondary sources or lecture notes. Work at the upper
end of this range may be showing some, but not all, of achievements at higher
levels.
D5-D7 (Third Class Degree)
These grades signify work that is of a satisfactory standard. They will reflect
difficulty in understanding the basic material or critical ideas of the course, but
will be conceptually weak. There will be some confusion over issues raised by
the assignment and will be based on obvious sources and lecture notes in an
uncritical fashion with the use of possibly irrelevant primary and secondary
material. Grammatical, syntactical and spelling errors are frequent in work
achieving these grades. Work at the upper end of this range may be showing
some, but not all, of achievements at a higher level.
E4 (Marginal Fail)
This is work that has marginally failed. There will be inadequate evidence of
understanding, research and thought to merit a pass grade. It is likely to suffer
from serious deficiencies in grammar and spelling. Work attaining this grade is
only considered a pass if augmented by work of a higher grade in all other areas
of the assessment.
F1-F3 (Fail)
This range is from work that is unsatisfactory at all levels to work that is overall of
an unsatisfactory level. There may be serious misunderstanding of the issues,
gross errors of fact and interpretation and only a minimal level of coherence in
presenting an argument. There may be considerable errors of syntax and
spelling. The student may not have attempted to apply the department’s
conventions on presentation or followed these only sporadically and sloppily. At
the higher end of this range there will be some knowledge shown but this will be
flawed in the detail. The work will show only limited competency in written
English.
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10. Referral and Retrieval
A minimum grade of E4 in each element of assessment and an overall grade of
D5 will be required to pass the module. Failure of one element (F1/F2/F3) can be
retrieved by a resubmission of appropriate work for that element only; this will result
in an overall grade of D5 for the module.
Referencing
The following applies to all essays, presentations, evaluations and portfolio work:
• Make sure that you include a bibliography of any sources used (see the
library leaflet on HARVARD conventions for the layout of bibliographies and
references)
• Include references to the sources of all quotations, facts, statistics and
matters of opinion which are not your own, at the point where they occur in
the presentation.
• The library leaflet explains how to make references. These sources should
be listed at the end in the bibliography. This is very important, and should be
followed carefully to avoid any possible suspicion that you are submitting
work that is not entirely your own
• Downloaded sections from internet sites, text cut and pasted from CD-
ROMs, or extracts from printed books, should never be used in academic
contexts without full and explicit referencing to the source. Avoid using the
internet as the main source of your research
Plagiarism
Please note that correct referencing of source material that you use in
assessments is not just good practice, but also is a protection against allegations
of the unfair practice of plagiarism.
Students are often expected to read widely in texts, journals or websites in
preparation for assessments, but not to create a piece of work which is
composed significantly of others’ words (even if referenced). Your own ability to
think, reflect, analyse, and synthesise needs to be assessed, not just your ability
to select sources. You will be credited for your research and use of sources.
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11. Unfair Practice
“Unfair practice” refers to all breaches of assessment regulations that might give
an unfair advantage to a student in gaining a higher grade than his/her ability
would merit, and includes:
a) copying or using unauthorised materials or the work of another
student;
b) impersonating another student, or allowing yourself to be
impersonated;
c) submitting someone else’s work for assessment as though it were
your own (plagiarism);
d) claiming to have carried out research or obtained results which in fact
you haven’t;
e) presenting false information about special circumstances, intended to
mislead.
The action which will be taken in the case of suspected unfair practice is detailed
in regulation 6 on the registry's website http://registry.newport.ac.uk, and, if a
Committee of Inquiry finds it proven, may result in penalties ranging from a
reprimand, to cancellation of marks, to disqualification from study.
Retrieval Briefs
In the event that you fail an assignment or fail to hand in an assignment you will
be required to undertaken a RETRIEVAL assignment. The retrieval briefs for this
module are indicated at the end of each of the module information that follows.
Progression
Students are required to attempt the assessment brief for each module, within each
academic year. In order to progress into the following year of study, you must
achieve at least a grade of F3 for each 20 credit module. Failure to do so may result
in your repeating the year or the suspension of your studies
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12. Personal Development Planning (PDP)
Personal Development Planning is seen as a valuable process that is structured and
supported by you to reflect upon your own learning, performance and / or achievement.
It will also enable you to plan for your personal, educational and career development.
The objective of the PDP is to help you to:
• improve your capacity as individuals
• understand what and how you are learning
• review, plan and take responsibility for your own learning
• become more effective, independent and confident self-directed learners
• understand how you are learning and relate your learning to a wider context
• improve your general skills for study and career management
• articulate personal goals
• evaluate progress towards your achievement
• encourage a positive attitude to learning throughout your life.
How will this all work?
The PDP is integrated into the programme through meetings held with your personal
tutor no less than 3 times every year in order to discuss overall progress, identify your
support needs and recognise and record your achievements and strengths.
The construction of a Progress File is combined with preparation of a portfolio/ that will
be of real use to you as you move to a post-degree destination.
The PDP paperwork belongs to you, but your tutors will keep appropriate records that
can be made available to you on request. The intention of PDP is to support your
learning and development and it is therefore fully integrated into programme as follows:
Year 1
Level 4
Meeting When Purpose
Diagnostic 1st personal To establish contact with your tutor, to introduce and
Meeting tutorial explain the paperwork you will need to keep as a record
Semester of your progress and reflection on your development and
One establish your initial needs.
Progress Assessment To discuss your progress to date. To reflect upon and
Meeting 1 Feedback update your needs and to consider your overall progress
Semester indicated by the assessment record.
One
Progress Assessment To discuss your progress to date, with particular
Meeting 2 Feedback emphasis on your move into level five, to reflect upon and
Semester update your record and needs and to consider your
Two overall progress indicated by assessment records, with
particular attention paid to your support needs.
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13. Year 2
Level 5
Meeting When Purpose
Progress 1st personal To renew contact after summer vacation, to reflect upon
Meeting 3 tutorial and update the record of your needs and to consider your
Semester overall progress indicated by assessment records
One
Progress Assessment To discuss your progress to date. To reflect upon and
Meeting 4 Feedback update your needs and to consider your overall progress
Semester indicated by the assessment record.
One
Progress Assessment To discuss your progress to date, with particular
Meeting 5 Feedback emphasis on your move into level six, to reflect upon and
Semester update your record and needs and to consider your
Two overall progress indicated by assessment records, with
particular attention paid to your support needs.
Year 3
Level 6
Meeting When Purpose
Progress 1st personal To renew contact after summer vacation, to reflect upon
Meeting 6 tutorial and update the record of your needs and to consider your
Semester overall progress indicated by assessment records
One
Progress Assessment To discuss your progress to date, with particular
Meeting 7 Feedback emphasis on preparation for post-degree destination, to
Semester reflect upon and update your record of needs, with
One particular emphasis on support for presenting work in a
professional context.
Progress Assessment To discuss your progress to date, with particular
Meeting 8 Feedback emphasis on the evident strengths of your achievements
Semester that can inform the presentation of work to a potential
Two employer or other post-degree destination
STUDENT SUPPORT SERVICES
Student Services offer services dealing with a range of issues such as health,
financial difficulties, spiritual wellbeing, childcare and careers.
Contact Numbers: 01633 432657 - Student Services on the Caerleon Campus
01633 432396 - Student Services on the Allt-yr-yn Campus
Opening Hours: 8.30am-5pm - Monday to Thursday
8.30am-4.30pm - Friday
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14. How to find us: Caerleon Campus - E20 Rathmell Building
STUDY ADVICE SERVICE
What is the Study Advice Service?
Study Advice Tutors offer free advice to students on a range of study skills such as
essay/report writing, Harvard referencing, critical thinking, reading strategies, note
making, revision techniques, presentation skills, dissertations, punctuation skills and
time management. The Study Advice Service is for anyone who wants to improve and
develop their study skills.
What help is offered?
45 minute tutorials are available for students to obtain advice on any study skill issue.
Tutors can help with decoding an essay title, devising an essay plan, referencing
sources, suggesting revision and exam techniques and many other study skill areas.
Students can also book a tutor to watch a practise presentation where verbal and written
feedback is provided.
The Study Advice Service does not offer subject specific advice or proofread
work.
Does the Study Advice Service offer dyslexia support?
No, but the tutors work very closely with Student Services who do offer support.
Can the Study Advice Service help me with my English?
The service does not offer a proofreading service but will instead help and support the
student in being able to identify errors in his or her own work. For students whose first
language is not English, proofreading support and English classes are offered elsewhere
in the University.
For individual or group tutorials at Caerleon campus or Allt-yr-yn campus,
Email: study.advice@newport.ac.uk
Telephone 01633 432657
Framework for Amicable Issues Resolution
It is the policy of the University of Wales, Newport (Newport) that students should have
access to a framework through which to raise issues in sufficient time to obtain useful
remedy and keep their studies on track. This framework draws upon the provisions that
University of Wales, Newport (Newport) makes for student representation (via the
Students Union) and for handling complaints. It is intended that all those who use this
framework should maintain a focus on finding the most appropriate and feasible solution
that helps to ensure that the student experience at Newport is fit for purpose.
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15. This document can be made available in alternative formats, such as Braille or audio.
Contact Karen Jones in the University Secretary's Office: 01633 432083
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17. Module Title: Creative Music Practice Part One
Module Code: G106943
Level 4
Semester 1
Credits: 20
Module Leader: Matthew Lovett
Duration (Hours): Supported Hours: 50
Directed Studies: 50
Independent Studies: 100
Assignment: Improvised / experimental musical performance and
project portfolio
Submission Date: 9th November (Performance, Audio CD and Project Folder
Presentations)
Place of Submission: Sound Studios
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18. Creative Music Practice Part One, in conjunction with Musicology of the 20th
Century, will serve as an introduction to a particular way of working with, and thinking
about sound and music. The main purpose of the module is to address many of the
issues associated with contemporary music making, with particular emphasis on
experimentation, improvisation and innovation. The module has been structured in such
a way as to give you an understanding of sound and music ‘from the ground up’. You’ll
start by finding and making instruments out of scrap, then design and build your own in
the fabrication workshops. You’ll then move into the electronics lab to modify and build
more instruments, before learning about digital sound processing and midi interfaces.
This will be combined with practical sessions on improvisation, MAX/MSP
experimental/electroacoustic music and performance. You will also be introduced to the
basic functionality of Pro Tools and live recording techniques.
You’ll be expected to supplement your studies by keeping a project folder, as well as
undertaking self-directed listening, reading and musical creativity, which will be
supported by regular group critique and tutorial sessions.
This module accounts for 20 credits and it is important to understand that you need to
pass this module in order to proceed to the next. All the information given here is to help
you cope with the demands of the module and get the most out of it.
This module will be assessed on a number of elements that will combine to make up a
coherent body of work:
• A 10 – 15 minute live performance of experimental / improvised music
And a portfolio of projects that includes:
• A self-built instrument
• Electronic and digital tools and instruments
• A live recording of the performance
• A project folder that contains your research, project descriptions, audio-visual-
written ideas and notes, technical plans for performance, rehearsal schedules
and any other relevant material
You’ll develop this body of work over the course of the module, so it’s important that you
manage your workload and don’t let it get out of control. This module accounts for 20
credits and it is important to understand that you must submit work for this module in
order to proceed to the next year of your studies. All the information given here is to help
you cope with the demands of the module and get the most out of it.
It’s worth remembering that Creative Music Practice Part One is a challenging
experience for all students – the best thing to do is dive in head first!
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19. The following pages are taken from the definitive programme document. Please
pay special attention to all criteria and requirements. If you need to clarify
anything at all please do not hesitate to ask for help from your tutor.
1 Rationale
The central focus of this module is on experimentation, improvisation and developing
creative methodologies.
The module is intended to act as a foundation for students to widen their perspectives on
music practice. The module will develop a musical understanding beyond the
conventional and popular forms focussing on improvisation and musicianship, as well as
developing strategies for the design and use of new creative tools.
The module will also introduce theoretical and critical concepts key to process,
innovation, and experimentation. Students will also be made aware of development and
documentation processes, in order to critically evaluate their work.
The module will be delivered through practical workshops supported by seminar
discussions designed to develop musical creativity and new methods of ideation. The
module will conclude with a performance of improvised and experimental music that
features the students’ self-built instruments.
2 Aims
The module aims to:
• introduce students to improvisational techniques
• develop creative skills, techniques and musicianship within a group context
• develop listening skills and music appreciation
• introduce and examine the developments of musical forms and texts in the
modern period
• stimulate thought, discussions and debate which encourages further reading,
listening and research
3 Learning Outcomes
On successful completion of this module students will be able to demonstrate the
following:
1. A measure of personal expression, imagination and creativity in practical music-
making (improvisation and performance) and the ability to communicate through
music employing appropriate technical and interpretative means at an
introductory level.
2. The ability to work in combination with others on joint projects or activities, and to
show skills in teamwork, negotiation, organisation and decision-making.
3. Knowledge of less familiar areas of music and the ability to refer to, evaluate and
then apply to practice.
4. Understand the design and construction of a range of musical instruments and
tools.
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20. Learning Outcomes explained:
- A measure of personal expression, imagination and creativity in practical
music making (improvisation and performance) and the ability to
communicate through music employing appropriate technical and
interpretative means
In performance, although you will not be specifically assessed on your instrumental or
technical skills, you will need to show that you can perform well and that your music has
been thought through.
- The ability to work in combination with others on joint projects or activities,
and to show skills in teamwork, negotiation, organisation and decision-
making
During this project, you’ll be learning to work effectively with others, not only during
performance, but also in planning, rehearsing and organising all of the technical and
other resources that you need in order to complete the work
- A knowledge of less familiar areas of music and the ability to refer to,
evaluate and then apply to individual practice when developing and
constructing work
Your work will also need to demonstrate that you’re able to communicate your ideas
through music and that you’ve taken on board the listening and reading content of the
module.
- Understand the design and construction of a range of musical instruments
and tools
You’ll be exploring a number of different approaches to instrument design and
construction, and it’s essential that you document your learning process with written,
audio and visual evidence
4 Indicative Content
Through a series of practical workshops that will introduce them to experimental /
ideational processes as well as design and construction methodologies, students will
develop a number of mechanical, electronic and digital musical / sonic tools.
In parallel to this, a series of workshops that draws on avant-garde and experimental
music traditions, will introduce improvisation techniques. In contrast to passive hearing,
students will be encouraged to develop their musical awareness by actively listening and
responding in small ensembles.
Students will also be inducted in the use of live sound systems, and given training in the
use of recording equipment and software in order to document live performance.
5 Learning and Teaching Strategy
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21. Will normally include the following:
• seminars or other forms of small-group discussion, sometimes involving
individual or group student presentations to develop oral presentation,
negotiation and communication skills
• other forms of small-group teaching and learning in which students have the
opportunity to work together as a team (for example, a joint technology or
performance project)
• one-to-one interaction, particularly supporting the development of self-direction,
intellectual independence and research skills through dissertations, analysis and
individual projects, and the development of creative skills through composition
and performance
• lectures that stimulate thought, discussion and debate, and which encourage
further reading, listening and research by which students can extend their own
knowledge and understanding
• workshops and masterclasses, normally addressing the acquisition of creative
skills and techniques within a group context, and often benefiting from the
experience of visiting specialists
• peer learning where students discuss critically their colleagues' work, usually
performances or compositions
• writing (essays, learning journals, concert reviewing etc) as a means of
developing research techniques, acquiring knowledge, and presenting ideas and
arguments in written form
• practical exercises, usually connected with the development of creative,
analytical and aural skills
• independent learning, whether as directed reading and listening related to essay-
writing or dissertation/project work or as practice for developing creative skills
• use of computer-assisted learning, of email for discussion groups or tutorial
supervision, and of other forms of ICT
• a wide variety of non-assessed curricular activities, especially those involving the
participation in or attendance at performances
6 Assessment Strategy
Will normally include the following:
• practical examinations in which students demonstrate their technical and
interpretative skills in performance. The programme of music is normally agreed with
tutors in advance. Students are expected to show an awareness of stylistic issues.
Practical examinations may involve individuals or groups and may be held in public
• creative projects, often assessed by a mixture of continuous assessment,
documentation and final presentation/performance, and especially relevant for
interdisciplinary work (for example music in combination with theatre, dance, video
etc)
• compositions - for group discussion and critique, thereby developing students'
abilities to formulate criteria for judgement, and to express their thoughts verbally
• self-assessment demonstrating students' abilities to evaluate their work objectively
and to identify their own strengths and weaknesses
7 Assessment Requirements
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22. Performance (Summative)
Students will be required to stage a musical performance that demonstrates group
interaction and individual contribution and takes into account the issues raised in the
module such as improvisation, electronic music and other experimental musical
practices. This will form 50% of the final module grade. (Learning Outcomes 1 - 4).
Presentation / Portfolio of Works (Summative)
Students will be required to make a presentation that discusses the assessed work and
submit a portfolio of projects that have been constructed during the module. The work
should reflect a variety of media, and demonstrate the application of research and
commitment to the design and build process. The portfolio will also include a
documentary audio recording of the performed work. This will form 50% of the final
module grade. (Learning Outcomes 1 - 4).
Workshop / Creative Practice (Formative)
Students will be required to attend all scheduled workshops, rehearsals and critiques for
the module. Students are also required to uphold the terms and conditions set out by the
programme for studio practice and bookings and the responsible care of all equipment.
Formative Assessment
Formative assessment is an interim 'work in progress' diagnosis carried out during the
assignment period, providing the student with the opportunity for feedback from the
Programme staff. The purpose of this input is to give the student advice on "where you
are at" with the project and how to improve the quality of learning. Formative
assessment maybe carried out through group or individual tutorials and critiques.
Summative Assessment
Summative assessment is more comprehensive in nature and is used to check the level
of the student’s learning at the end of an assignment (here the student will be assigned
a final grade subject to Exam Board ratification, using the Assessment Criteria set out in
the Module Handbook). The purpose of this is to ensure that the student has understood
and met the programme goals and objectives and to monitor the level that has been
achieved in meeting the learning outcomes set out in the module briefs.
All assessment elements in the module must be attempted and the student must achieve a
minimum of E4 in all elements, and an overall average of D5 in order to achieve credit. All
assessed elements will be equally weighted in calculating the final grade. In the event of
failure, students will be instructed to retrieve the element or elements of the course, which
they have failed. Group projects will be given individual retrieval tasks in the event of failure.
(Refer to regulations 21 and 22 for Module Initial Degrees)
8 Assessment Criteria
All assessment criteria will be applied in accordance with the HEFCW generic descriptors
for Level Four.
22
23. The work will be assessed according to the following criteria:
1. Outcome: students will be expected to show evidence of the exercise of
creativity, inventiveness and aesthetic sensitivity in realising the brief. (Learning
Outcomes 1 - 4)
2. Technical Competence: students will be expected to demonstrate a
competence in the technical skills required for and relevant to their assessed
work. (Learning Outcomes 1 & 4)
3. Critical Understanding: students will be expected to demonstrate an
understanding of the theoretical issues and debates raised in both the practical
and theoretical modules, make clear the range of theoretical positions in their
work and provide evidence of depth of study. (Learning Outcomes 1, 3 & 4)
4. Production Process (Research and Organisation): students will be expected
to demonstrate effective time and resource management; including the ability to
gather, analyse, manipulate, or interrogate research materials, the ability to work
in combination with others on joint projects or activities in a professional setting
and to meet all deadlines. (Learning Outcomes 1 – 4)
Each of the above criteria will form 25% of the final module grade.
Assessment Criteria Explained:
The following are an informal guide to assist you in assessing the quality of your work
with reference to the above criteria.
Outcome: students will be expected to show evidence of creativity, inventiveness and
aesthetic sensitivity in realising the brief.
Aesthetics
- Is the piece well structured?
- Do the melodies/themes/musical ideas/sounds work?
- Is the musical structure appropriate to the piece?
- Are you using the right instruments?
- Are the instruments doing what’s right for the piece?
- Is there any evidence of stagecraft, such as dress, performance skills,
communication with the audience?
Creativity and Inventiveness
- Do you engage with the audience?
- Is there evidence of this?
- Are you using lighting?
- Are you using any visual media?
- Is there a stage plan?
- Is the music innovative?
- Does the performance show that you have used your imagination to bring all the
elements together?
- How ambitious is your work – what evidence is there of this?
23
24. - What risks have you taken with your work – how have you pushed your own
creative limits?
Technical Competence: students will be expected to demonstrate a competence in the
technical skills required for and relevant to their assessed work.
Production
It may be useful for you to think of a performance that you consider to be professional
both in terms of its artistic merit and the quality of its technical support.
- Is the sound quality good?
- Are the levels right and can you hear everything (including what the singer is
singing)?
- Have you made all the right connections in your set up?
- Have you considered Health and safety – is there evidence of this?
- Have you rigged the P.A. correctly?
- Is there enough power?
- Have you used the appropriate desk, speakers and monitoring for the venue?
- Have you used the appropriate equipment for the job, such as a stage box
instead of multiple XLR cables?
- Have you used the right amplification and instruments – do they work?
- Are you using the right crew – sound engineer, lighting, get-in and get-out?
- Is the equipment being looked after and used properly?
Aesthetics
- Have you made sure there is no feedback?
- Are there any buzzes or hums from faulty or unearthed equipment?
- Does the lighting work and is it being used well?
- Is the staging set up well?
- Is the audience properly catered for?
- Is the musicianship of a professional standard?
Critical Understanding: students will be expected to demonstrate an understanding of
the theoretical issues and debates raised in both the practical and theoretical modules,
make clear the range of theoretical positions in their work and provide evidence of depth
of study.
Supporting Evidence
- Are your ideas underpinned by your research – is there evidence of this?
- Does your work make clear that you have engaged with a range of theoretical
positions?
- Does your work show that you have carried out focussed research on the issues
relevant to your assessed work?
- Is it clear that your ideas are supported by depth of study?
- Are your theoretical positions implicit in the production and consumption of your
work?
Context
24
25. - Do you understand why you are doing what you are doing?
- Does your work show that you acknowledge and understand your influences and
notions of genre and aesthetics?
Production Process (Research and Organisation): students will be expected to
demonstrate effective time and resource management; including the ability to gather,
analyse, manipulate, or interrogate research materials, the ability to work in combination
with others on joint projects or activities in a professional setting and to meet all
deadlines.
Research
- Have you demonstrated clearly that your work is informed by research? This can
be gathered from a variety of sources, including books, magazines, journals,
appropriate websites, audio and video resources. It’s vital that you reference your
work correctly, making it easier for both you and your tutors to find your source
material where necessary
Organisation
- Teamwork and developing the ability to work collaboratively is essential for any
creative practice. It is therefore essential that you demonstrate your ability to
work effectively with others
- Time management is also a key ingredient to the success of any creative project
– you must identify your targets and deadlines and show that you’ve met them
Preparation
- Is the performance well rehearsed?
- Have you made the most of rehearsal/studio time?
- Is the production and performance process run efficiently?
- Does the performance start on time?
- Have you planned the set up?
- Have you given enough time for sound checking?
- Are the production/performance tasks sensibly delegated?
- Is the get-out successfully completed?
- Has each group member fully participated in the production and performance
process?
Professionalism
- Is there evidence of group work in the music and performance?
- Is there evidence of teamwork in the production process?
- Do the performers communicate well with each other?
Your assessment will normally include reference to the items above.
25
26. 9 Reading
Essential
BAILEY, D. 1993. Improvisation: Its Nature and Practice in Music. Da Capo Press
COX, C (ed), WARNER, D (ed). 2004. Audio Culture: Readings in Modern Music
Continuum. International Publishing Group
HOPKIN, B. 1996. Musical Instrument Design: Practical Information for Instrument
Making. See Sharp Press
NYMAN, M. 1999. Experimental Music: Cage and Beyond. Cambridge University Press
Indicative
BEBBINGTON, R. 1993. Electronic Music Learning Projects. Bernard Babani
BERENDT, J. 1987. Nada Brahma - The World is Sound: Music and the Landscape of
Consciousness. Inner Traditions Bear and Company
BERLE, A. 1998. Improvisation for the Contemporary Musician. Amsco Music
BORGO, D. 2006. Sync or Swarm: Improvising Music in a Complex Age. Continuum
BOULEZ P, CAGE J, SAMUELS R (Ed), NATTIEZ J (Ed). 1995. The Boulez-Cage
Correspondence. Cambridge University Press
CAGE, J. 1973. Silence: Lectures and Writings. Wesleyan U.P.
COLLINS, N. 2006 Handmade Electronic Music: The Art of Hardware Hacking.
Routledge
COPE, D. 1992. New Directions in Music. William C. Brown
COWELL, H. 1996. New Musical Resources. Cambridge University Press
DAVIES, H. 2002. Sounds Heard. Sound World Publishers
GHAZALA, R. 2005. Circuit-Bending : Build Your Own Alien Instruments. Wiley
Publishing
HOLMES T. 2003. Electronic and Experimental Music. Routledge
HOPKIN, B. 1995 Making Simple Musical Instruments: A Melodious Collection of String,
Winds, Drums and More. Lark Books
OLIVEROS, P. 2005. Deep Listening: A Composer’s Sound Practice. iUniverse
SAWYER, D. 1977. Vibrations: Making Unorthodox Musical Instruments. Cambridge
University Press
26
27. SHEPARD, M. 2002. Simple Flutes: A Guide to Flute Making and Playing, or How to
Make and Play Great Homemade Musical Instruments for Children and All Ages from
Bamboo, Wood, Clay, Metal, PVC Plastic, or Anything Else. Shepard Publications
STEWART, D. 2000. Inside the Music: The Musician's Guide to Composition,
Improvisation and the Mechanics of Music. Backbeat UK
TOOP, D. 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds.
Serpent’s Tail
YOUNG, R (ed). 2002 Undercurrents, The Hidden Wiring of Modern Music. Continuum
Online Resources
http://junkdojo.com/
http://nadishana.com/
http://www.oddmusic.com/
http://harrypartch.com/
http://windworld.com/
10 Professional Status
N/A
11 Student Feedback
Student feedback will be elicited through the following:
1. Personal tutorials.
2. Critiques and seminar based discussions.
3. Student representative reports at Subject Boards.
4. A standard module feedback questionnaire will be used across the School of Art,
Media and Design at the end of every module.
Feedback will be analysed and a summary for each module will be kept with each
relevant programme AME file of evidence in the School office.
27
28. Module Brief
Title: Creative Music Practice Part One
Contents: (A) Experimental and improvised musical
performance
(B) Portfolio of works including: self-built
instrument, electronic and digital tools, live recording
Length: 10 – 15 minutes
Submission: Sound Studios
Dates: 9th November for Performance and Portfolio
Presentations
Weighting: Part (A) 50%, Part (B) 50%
Retrieval: Portfolio of instruments and tools & Audio CD
containing 10 minute live performance
Brief:
Part (A) – Live Performance (50%)
This module has been concerned with innovation and creativity, and in groups you are
required to stage a public musical performance of between 10 and 15 minutes that
showcases your ability to work with improvised, experimental and electronic musical
material as part of a small ensemble, demonstrating both your solo and interactive
abilities.
The emphasis is very much on a spontaneous musical performance that is implicitly
informed by the module content, although your work may also take into account
predetermined strategies and composition; please take the opportunity to discuss your
ideas with your tutor. You will be assessed on your ability to perform and present your
work and show your understanding of the requirements of live performance.
This assessment will take into consideration the technical training provided during CSM1
and you will therefore be expected not simply to perform well and show due recognition
to the role of the audience, but to engage with and manage all technical aspects of the
production and documentation process.
Part (B) – Project Portfolio (50%)
You are also required to submit a Project Portfolio which contains your self-built
musical instruments and tools, as well as your research notes, designs, descriptions
of your project work, audio / visual or written ideas, technical plans for live performance,
rehearsal schedules, and an Audio CD containing a live recording of your performed
28
29. work. Your written work is an opportunity for you to explain and evaluate your work and
provide evidence of your ability to manage your professional practice.
In realising this brief, you should consider the assessment criteria below and make sure
that you are able to answer the following questions:
Outcome
- Does my work show that I’m developing musically and that I’m
aware of what sounds good?
- Have I taken on board everything from this module and really tried
to make an interesting and engaging piece of music?
- Do I know how to communicate well with the other musicians and
with the audience?
- Am I going to be able to showcase my solo as well as my
ensemble musical abilities?
Technical
- Am I making live and recorded music that sounds professional?
- How best can I present this music live?
- What equipment or personnel do I need to put together a live
performance?
- Do I know how to get a good sound on stage and make sure that
the audience can hear what’s going on?
- Do I know how to set up, place and operate the microphones and
other recording equipment in order to make a clear recording of
my work?
Critical Understanding
- Does my work show that I have been listening to and engaging
with the issues and music discussed in CSM1?
- Does my work show that I understand and can perform music that
is informed by a range of experimental and modernist ideas?
Production Process (Research and Organisation)
- Have I worked well with others in order to put this piece of music
together?
- How have I made the best use of my time during the production
process?
- Do I know how to describe the production/preparation process as
well as the ideas behind my work?
- Do I know how to evaluate my work and show that I have learned
from the production and performance process?
- Have I researched the project thoroughly, by using written, audio,
visual materials?
- Have I referenced my research and demonstrated clearly that my
work is informed by a pro-active use of resources?
If you are unsure about ANY of these points, don’t hesitate to ask for clarification with
29
32. Module Title: CMP2: Creative Music Practice 2
Module Code: G106944
Level 4
Semester 1
Credits: 20
Module Leader: Matthew Lovett
Duration (Hours): Supported Hours: 50
Directed Studies: 50
Independent Studies: 100
Assignment:
Submission Dates: Live sonic event 18th December
Project Folder before 2pm, 12th January,
Presentations 15th January
Place of Submission: Performing Arts Space and Newport School of AMD
reception, Caerleon Campus
32
33. Creative Music Practice Part Two follows on from and builds upon the knowledge and
skills that you will have gained during CMP Part One. Having developed a number of
musical instruments and tools and begun to broaden your understanding of experimental
approaches to music making, you will now focus on working with real time outcomes to
your work that make use of a new range of tools and strategies.
You’re going to be working in groups to develop a live performance / sonic happening
that showcases your understanding of working within a network of musicians, using a
number of new tools and creative strategies, such as site-specific, interactive,
electroacoustic and graphic scoring.
You’ll continue with your induction into MAX / MSP, build a USB software controller,
learn about using sensors and circuit boards, continue to develop your understanding of
Pro Tools all within the context of collaboration and experimentation.
The module will be assessed summatively at the live event and at your group
presentation, where you will present and discuss your ideas, research, objectives and
influences for the project. You’ll develop this body of work over the course of the module,
so it’s important that you manage your workload and don’t let it get out of control.
This module accounts for 20 credits and it is important to understand that you must
submit work for this module in order to proceed to the next year of your studies. All the
information given here is to help you cope with the demands of the module and get the
most out of it.
Good luck and remember to enjoy the process
33
34. The following pages are taken from the definitive programme document. Please
pay special attention to all criteria and requirements. If you need to clarify
anything at all please do not hesitate to ask for help from your tutor.
1 Rationale
Following on from CMP1, the focus of CMP2 is once again directed towards innovation
and experimentation. The module is designed to allow students to generate
performance outcomes beyond the confines of conventional concert practice.
This module advances students’ understanding of the use of sound and video within a
network context and will continue to establish a theoretical foundation for students’
creative practice.
Students will be introduced to audio and video software applications and will develop
strategies for time-based and site specific work, with particular emphasis on the avant-
garde.
The module will be delivered through practical workshops supported by seminar
discussions designed to develop creativity and new methods of ideation. The module
will conclude with a live / time-based event.
2 Aims
The module aims to:
• develop the ability to reflect constructively on their own practice, for example,
through considering different performing traditions and performer roles
• develop presentational skills, such as awareness and acknowledgement of an
audience
• develop ensemble skills: performing effectively as part of a group
• facilitate the creation of musical ideas and concepts that relate to, or combine
with, other art forms and media
• stimulate thought, discussions and debate which encourages further reading,
listening and research
3 Learning Outcomes
On successful completion of this module students will be able to demonstrate the
following:
5. Demonstrate the particular musical skills of ensemble performance, including
improvisation and co-creation.
6. The ability to work in combination with others on joint projects or activities, and to
show skills in teamwork, negotiation, organisation and decision-making.
7. An understanding of the means by which to integrate electronic and computer-
based elements into live performance
8. An awareness of the implications of the multidisciplinary nature of music for
creation, innovation and research.
34
35. 9. The ability to find creative links between the results of personal research, textual
and musical analysis, scholarship, reflection and listening skills, and the process
of performing
35
36. 4 Indicative Content
The module draws on Fluxus, Dada, conceptual art as well as site-specific and
interactive practice to establish a critical framework within which to develop live
performance strategies.
Through a series of workshops and seminars, students will develop an understanding of
the use of audio and visual media within the context of time-based performance.
Students will explore the use of networks, communities and systems in order to produce
a realtime event.
Students will also be introduced to examples of notating musical ideas from a diverse
range of methods such as graphic, text and natural scores.
A series of workshops will provide training in the use of audio and visual software to
further extend students’ use of a range of media materials within their work.
5 Learning and Teaching Strategy
Will normally include the following:
• seminars or other forms of small-group discussion, sometimes involving
individual or group student presentations to develop oral presentation,
negotiation and communication skills
• other forms of small-group teaching and learning in which students have the
opportunity to work together as a team (for example, a joint technology or
performance project)
• one-to-one interaction, particularly supporting the development of self-direction,
intellectual independence and research skills through dissertations, analysis and
individual projects, and the development of creative skills through composition
and performance
• lectures that stimulate thought, discussion and debate, and which encourage
further reading, listening and research by which students can extend their own
knowledge and understanding
• individual or small-group performance instruction, developing experience of
repertoire, techniques of performance, musicianship, interpretation and
presentation
• workshops and masterclasses, normally addressing the acquisition of creative
skills and techniques within a group context, and often benefiting from the
experience of visiting specialists
• peer learning where students discuss critically their colleagues' work, usually
performances or compositions
• writing (essays, learning journals, concert reviewing etc) as a means of
developing research techniques, acquiring knowledge, and presenting ideas and
arguments in written form
• practical exercises, usually connected with the development of creative,
analytical and aural skills
• independent learning, whether as directed reading and listening related to essay-
writing or dissertation/project work or as practice for developing creative skills
36
37. • studio or laboratory work, including hands-on experience in the use of electronic
equipment for composition and/or recording, and for various forms of empirical
work
• use of computer-assisted learning, of email for discussion groups or tutorial
supervision, and of other forms of ICT
• fieldwork projects, where students study a musical culture in situ, by such
methods as attending, observing and participating in events, and interviewing
performers, patrons or listeners
• a wide variety of non-assessed curricular activities, especially those involving the
participation in or attendance at performances.
6 Assessment Strategy
Will normally include the following:
• practical examinations in which students demonstrate their technical and
interpretative skills in performance. The programme of music is normally agreed with
tutors in advance. Students are expected to show an awareness of stylistic issues.
Practical examinations may involve individuals or groups and may be held in public
• creative projects, often assessed by a mixture of continuous assessment,
documentation and final presentation/performance, and especially relevant for
interdisciplinary work (for example music in combination with theatre, dance, video
etc)
• compositions - for group discussion and critique, thereby developing students'
abilities to formulate criteria for judgement, and to express their thoughts verbally
• self-assessment demonstrating students' abilities to evaluate their work objectively
and to identify their own strengths and weaknesses
7 Assessment Requirements
Performance (Summative)
Students will be required to stage a live event / happening that demonstrates an
understanding of the critical and practical learning undertaken within the module. The
specific nature and form of the event will be negotiated with the module leader during the
module, but will make use of live performance as well as audio and visual media. This
will form 75% of the final module grade. (Assessment Criteria 1 – 3)
Presentation / Portfolio of Works (Summative)
Students will be required to make a presentation that discusses the assessed work and
submit a portfolio of projects that have been developed during the module. The work
should reflect a variety of media, and demonstrate the application of research and
commitment to the design and build process. This will form 25% of the final module
grade. (Assessment Criteria 4)
Workshop / Creative Practice (Formative)
Students will be required to attend all scheduled workshops, rehearsals and critiques for
the module. Students are also required to uphold the terms and conditions set out by the
37
38. programme for studio practice and bookings and the responsible care of all equipment.
Formative Assessment
Formative assessment is an interim 'work in progress' diagnosis carried out during the
assignment period, providing the student with the opportunity for feedback from the
Programme staff. The purpose of this input is to give the student advice on "where you
are at" with the project and how to improve the quality of learning. Formative
assessment maybe carried out through group or individual tutorials and critiques.
Summative Assessment
Summative assessment is more comprehensive in nature and is used to check the level
of the student’s learning at the end of an assignment (here the student will be assigned
a final grade subject to Exam Board ratification, using the Assessment Criteria set out in
the Module Handbook). The purpose of this is to ensure that the student has understood
and met the programme goals and objectives and to monitor the level that has been
achieved in meeting the learning outcomes set out in the module briefs.
All assessment elements in the module must be attempted and the student must achieve a
minimum of E4 in all elements, and an overall average of D5 in order to achieve credit. All
assessed elements will be equally weighted in calculating the final grade. In the event of
failure, students will be instructed to retrieve the element or elements of the course, which
they have failed. Group projects will be given individual retrieval tasks in the event of failure.
(Refer to regulations 21 and 22 for Module Initial Degrees)
8 Assessment Criteria
All assessment criteria will be applied in accordance with the HEFCW generic descriptors
for Level Four.
The work will be assessed according to the following criteria:
5. Outcome: students will be expected to show evidence of the exercise of
creativity, inventiveness and aesthetic sensitivity in realising the brief. (Learning
Outcomes 1 - 4)
6. Technical Competence: students will be expected to demonstrate a
competence in the technical skills required for and relevant to their assessed
work. (Learning Outcomes 1 & 4)
7. Critical Understanding: students will be expected to demonstrate an
understanding of the theoretical issues and debates raised in both the practical
and theoretical modules, make clear the range of theoretical positions in their
work and provide evidence of depth of study. (Learning Outcomes 1, 3 & 4)
8. Production Process (Research and Organisation): students will be expected
to demonstrate effective time and resource management; including the ability to
gather, analyse, manipulate, or interrogate research materials, the ability to work
in combination with others on joint projects or activities in a professional setting
and to meet all deadlines. (Learning Outcomes 1 – 4)
Each of the above criteria will form 25% of the final module grade.
38
39. Assessment Criteria Explained:
The following are an informal guide to assist you in assessing the quality of your work
with reference to the above criteria.
Outcome: students will be expected to show evidence of creativity, inventiveness and
aesthetic sensitivity in realising the brief.
Aesthetics
- Is the piece well structured?
- Do the melodies/themes/musical ideas/sounds work?
- Is the musical structure appropriate to the piece?
- Are you using the right instruments?
- Are the instruments doing what’s right for the piece?
- Is there any evidence of stagecraft, such as dress, performance skills,
communication with the audience?
Creativity and Inventiveness
- Do you engage with the audience?
- Is there evidence of this?
- Are you using lighting?
- Are you using any visual media?
- Is there a stage plan?
- Is the music innovative?
- Does the performance show that you have used your imagination to bring all the
elements together?
- How ambitious is your work – what evidence is there of this?
- What risks have you taken with your work – how have you pushed your own
creative limits?
Technical Competence: students will be expected to demonstrate a competence in the
technical skills required for and relevant to their assessed work.
Production
It may be useful for you to think of a performance that you consider to be professional
both in terms of its artistic merit and the quality of its technical support.
- Is the sound quality good?
- Are the levels right and can you hear everything (including what the singer is
singing)?
- Have you made all the right connections in your set up?
- Have you considered Health and safety – is there evidence of this?
- Have you rigged the P.A. correctly?
- Is there enough power?
- Have you used the appropriate desk, speakers and monitoring for the venue?
- Have you used the appropriate equipment for the job, such as a stage box
instead of multiple XLR cables?
- Have you used the right amplification and instruments – do they work?
39
40. - Are you using the right crew – sound engineer, lighting, get-in and get-out?
- Is the equipment being looked after and used properly?
Aesthetics
- Have you made sure there is no feedback?
- Are there any buzzes or hums from faulty or unearthed equipment?
- Does the lighting work and is it being used well?
- Is the staging set up well?
- Is the audience properly catered for?
- Is the musicianship of a professional standard?
Critical Understanding: students will be expected to demonstrate an understanding of
the theoretical issues and debates raised in both the practical and theoretical modules,
make clear the range of theoretical positions in their work and provide evidence of depth
of study.
Supporting Evidence
- Are your ideas underpinned by your research – is there evidence of this?
- Does your work make clear that you have engaged with a range of theoretical
positions?
- Does your work show that you have carried out focussed research on the issues
relevant to your assessed work?
- Is it clear that your ideas are supported by depth of study?
- Are your theoretical positions implicit in the production and consumption of your
work?
Context
- Do you understand why you are doing what you are doing?
- Does your work show that you acknowledge and understand your influences and
notions of genre and aesthetics?
Production Process (Research and Organisation): students will be expected to
demonstrate effective time and resource management; including the ability to gather,
analyse, manipulate, or interrogate research materials, the ability to work in combination
with others on joint projects or activities in a professional setting and to meet all
deadlines.
Research
- Have you demonstrated clearly that your work is informed by research? This can
be gathered from a variety of sources, including books, magazines, journals,
appropriate websites, audio and video resources. It’s vital that you reference your
work correctly, making it easier for both you and your tutors to find your source
material where necessary
Organisation
40
41. - Teamwork and developing the ability to work collaboratively is essential for any
creative practice. It is therefore essential that you demonstrate your ability to
work effectively with others
- Time management is also a key ingredient to the success of any creative project
– you must identify your targets and deadlines and show that you’ve met them
Preparation
- Is the performance well rehearsed?
- Have you made the most of rehearsal/studio time?
- Is the production and performance process run efficiently?
- Does the performance start on time?
- Have you planned the set up?
- Have you given enough time for sound checking?
- Are the production/performance tasks sensibly delegated?
- Is the get-out successfully completed?
- Has each group member fully participated in the production and performance
process?
Professionalism
- Is there evidence of group work in the music and performance?
- Is there evidence of teamwork in the production process?
- Do the performers communicate well with each other?
Your assessment will normally include reference to the items above.
41
42. 9 Reading
Essential
BERGHAUS, G. 2005 Avant-garde Performance: Live Events and Electronic
Technologies. Palgrave Macmillan
COX, C (ed), WARNER, D (ed) Audio Culture: Readings in Modern Music Continuum.
International Publishing Group
GIBBS, T. 2007. The Fundamentals of Sonic Art & Sound Design. AVA Publishing
NYMAN, M. 1999. Experimental Music: Cage and Beyond. Cambridge University Press
Indicative
CAGE, J. 1973. Silence: Lectures and Writings. Wesleyan U.P.
CARDEW, C. 1972. Scratch Music. Latimer New Dimensions
COPE, D. 1992. New Directions in Music. William C. Brown
COWELL, H. 1996. New Musical Resources. Cambridge University Press
DWYER, T. 1971. Composing with Tape Recorders: Musique Concrete for Beginners.
Oxford University Press
EMMERSON, S. (Ed,) 1986 The Language of Electroacoustic Music. Palgrave
Macmillan
HENDRICKS, G. 2003. Critical Mass: Happenings, Fluxus, Performance, Intermedia and
Rutgers University, 1958-1972. Rutgers University Press
HIGGINS, H. 2002, Fluxus Experience. University of California Press
HOLMES T. 2003. Electronic and Experimental Music. Routledge
KAYE, N. 2000. Site Specific Art: Performance, Place and Documentation. Routledge
KAYE, N. 2006. Multi-media: Video - Installation – Performance. Routledge
JUDD, F. 1961. Electronic music and musique concrete. Spearman
OLIVEROS, P. 2005. Deep Listening : A Composer’s Sound Practice. iUniverse
REEVE, F. 1992. Concrete Music. Pyncheon House
TOOP, D. 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds.
Serpent’s Tail
42
43. TREIB, M. 1997. Space Calculated in Seconds: The Philips Pavilion, Le Corbusier,
Edgard Varese. Princeton University Press
YOUNG, R (ed). 2002 Undercurrents, The Hidden Wiring of Modern Music. Continuum
10 Professional Status
N/A
11 Student Feedback
Student feedback will be elicited through the following:
5. Personal tutorials.
6. Critiques and seminar based discussions.
7. Student representative reports at Subject Boards.
8. A standard module feedback questionnaire will be used across the School of Art,
Media and Design at the end of every module.
Feedback will be analysed and a summary for each module will be kept with each
relevant programme AME file of evidence in the School office.
43
44. Module Brief
Title: Creative Music Practice Part Two
Contents: Live sonic event
Length: 10 – 15 minutes
Additional Portfolio: Project portfolio and presentation
Submission: Live Performance / Sound Studios
Dates: Performance 18th December
Audio CD and Project Folder before 2pm, 12th January,
Presentations 15th January
Weighting: Live event 75%
Portfolio / Presentation 25%
Retrieval: Audio CD containing a10 minute live performance and a 3
minute musique concrete composition
Brief:
This module has been concerned with developing skills, experience and understanding
appropriate to live performance, time-based and site-specific work. You are therefore
required to stage a public event that showcases your ability to create a live or time
based sonic event within a network of similar performances / happenings.
Your work must demonstrate the progression of your learning using the knowledge and
skills acquired in CMP Part 1, using the improvised, experimental and avant-garde
practices that you are becoming familiar with.
You will work in groups to put together a live performance / time-based sonic event of
10 – 15 minutes. You’ll be expected to make use of the electronic and digital tools that
you have engaged with during the module and your work must demonstrate a critical
understanding of the theories and practices that have been raised.
You’re also required to document your work and keep a project folder that contains your
plans, ideas, photographs, research and downloads, as well as rehearsal and technical
schedules. You will make a group presentation of your work at the end of the module
where you will discuss your aims and intentions for the project, as well as outlining your
research and supporting evidence that has informed your work.
The project folder and presentation is an opportunity for you to explain and evaluate your
work and provide evidence of your ability to manage your professional practice.
In realising this brief, you should consider the assessment criteria below and make sure
that you are able to answer the following questions:
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45. Outcome
- Does my work show that I’m developing musically and that I’m
aware of what sounds good?
- Have I taken on board everything from this module and really tried
to make an interesting and engaging piece of music?
- Do I know how to communicate well with the other musicians and
with the audience?
- Am I going to be able to showcase my solo as well as my
ensemble musical abilities?
Technical
- Am I making live and recorded music that sounds professional?
- How best can I present this music live?
- What equipment or personnel do I need to put together a live
performance?
- Do I know how to get a good sound on stage and make sure that
the audience can hear what’s going on?
- Do I know how to set up, place and operate the microphones and
other recording equipment in order to make a clear recording of
my work?
Critical Understanding
- Does my work show that I have been listening to and engaging
with the issues and music discussed in CSM1?
- Does my work show that I understand and can perform music that
is informed by a range of experimental and modernist ideas?
Production Process (Research and Organisation)
- Have I worked well with others in order to put this piece of music
together?
- How have I made the best use of my time during the production
process?
- Do I know how to describe the production/preparation process as
well as the ideas behind my work?
- Do I know how to evaluate my work and show that I have learned
from the production and performance process?
- Have I researched the project thoroughly, by using written, audio,
visual materials?
- Have I referenced my research and demonstrated clearly that my
work is informed by a pro-active use of resources?
If you are unsure about ANY of these points, don’t hesitate to ask for clarification with
the programme team BEFORE your assessment.
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47. Module Title: Musicology of the 20th Century
Module Code: G106002
Level 4
Semester 1
Credits: 20
Module Leader: Matthew Lovett
Duration (Hours): Supported Hours: 50
Directed Studies: 50
Independent Studies: 100
Assignment: Seminar Presentation, Written Paper and Research Folder
Submission Date: Hand-in – 1pm, 12th January 2010
Presentations – 13th/14th January 2010
Place of Submission: Newport School of AMD reception, Caerleon Campus
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48. The following intended as a guide to the Musicology of the 20th Century module, and
supplements the validated programme document. This module, in conjunction with
Creative Music Practice Part Ones and Two serves as a foundation to your studies at
Newport, and will introduce you to a particular way of working with, and thinking about
music. The main purpose of this module is to address many of the theoretical,
conceptual and aesthetic issues associated with the developments in working with
sound and music in the 20th century, with particular emphasis on experimental and
improvisatory musical practices, technological innovation and Modernism.
In this module, you’ll attend a number of lectures, listening and analysis sessions,
seminars and tutorials. You’re also expected to supplement your studies with 100 hours
of self-directed listening, reading and written work, including preparing and presenting
seminar papers, which can be included your research folder.
At the end of the module, you’ll be required to make a 15-minute seminar presentation of
a 2000 word paper. You’ll also submit this paper as well as your research folder at the
student desk. Your assessment will be take into account ALL of these elements.
This module accounts for 20 credits and it is important to understand that you must
submit work for this module in order to proceed to the next year of your studies. All the
information given here is to help you cope with the demands of the module and get the
most out of it.
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49. The following pages are taken from the definitive programme document. Please
pay special attention to all criteria and requirements. If you need to clarify
anything at all please do not hesitate to ask for help from your tutor.
1 Rationale
Students will be introduced to a sound and music history, with particular focus on the
20th century. Through selected case studies, students will reach an understanding of the
nature of relevant musical texts and in particular within the avant-garde. Areas to be
considered will be selected from the following:
Atonalism, Serialism, Indeterminacy, Musique Concrête, Electroacoustic Music,
Minimalism, Fluxus, Improvisation
The module will invite students to question and debate their assumptions about music
practice and the role of the musician/artist, in preparation for an exploration of the
historical and theoretical context of music with modern culture. It will also begin to
develop the ability to research, debate and communicate intellectual ideas within the
context of contemporary music practice, and will lay the foundations for future academic
and intellectual enquiry.
Students will be introduced to theoretical and critical concepts key to process, innovation
and experimentation in modern and contemporary music. Through selected case
studies, students will reach an understanding of the nature of relevant musical texts and
in particular those within the avant-garde.
2 Aims
This module aims to:
• Develop listening skills and music appreciation
• Introduce and examine the developments of musical forms and texts in the modern
period
• Stimulate thought, discussions and debate which encourages further reading,
listening and research
• Develop an ability to comprehend and apply the parameters of context
• Develop an understanding of the role and function of assessment, and to begin the
development of a process of critical self analysis
3 Learning Outcomes
On completion of the module, the student should be able to demonstrate the following:
1. The ability to confront, explore and debate ideas and communicate unfamiliar
concepts, repertoires and practices in relation to music
2. A wide knowledge and experience of the repertoire(s) studied and the ability to
understand theoretical and aesthetic systems
3. The ability to develop ideas and construct arguments in both verbal and written
form and to evaluate such ideas and arguments critically
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50. 4. The ability to carry out independent learning as a basis for academic study,
presentation of individual and group work and for personal professional
development
5. The ability to select and use research in a creative, independent and appropriate
manner and to analyse and draw conclusions from research for future work
6. To recognise direct influences and quotations in one’s own and others’ work
Learning Outcomes explained:
- The ability to confront, explore and debate ideas and communicate unfamiliar
concepts, repertoires and practices in relation to music
- A wide knowledge and experience of the repertoire(s) studied and the ability to
understand theoretical and aesthetic systems
During your studies, you will come across a number of ideas and practices that are
unfamiliar to you and you will be assessed on your ability to engage with and form your
own opinions about them. As part of this module, you will also experience a great deal
of music that is either new or unfamiliar to you and it is your responsibility to familiarise
yourself with the relevant aesthetic (e.g. what it sounds like) and theoretical issues (e.g.
what are the ideas and concepts associated with the music).
- The ability to develop ideas and construct arguments in both verbal and written
form and to evaluate such ideas and arguments critically
- The ability to select and use research in a creative, independent and appropriate
manner and to analyse and draw conclusions from research for future work
Your papers and written work must be well thought out and contain logical, coherent
arguments and if you have a particular idea that you want to explore, then you must be
able to support your work with evidence of research such as quotations from credible
websites, books, recordings, conference papers, journals etc. This is an important
process for degree-level work and your research must not be based on anecdotal or
unsubstantiated information. However, please bear in mind that you’re not on your own
and the lectures, listening, seminars, reading lists and tutorials are designed to support
you in collecting and referencing that evidence.
- The ability to carry out independent learning as a basis for academic study,
presentation of individual and group work and for personal professional
development
Your academic work at all times supports your creative studies and it’s vital that you take
it seriously, since not only are you taking on board a number of new concepts and ideas
at this stage, but you are also learning how to learn in preparation for your dissertation in
Year 3. Therefore your work will be assessed in terms of your own professional
development.
- To recognise direct influences and quotations in one’s own and others’ work
Finally, and perhaps most importantly, your work MUST be properly referenced and
acknowledge ALL quotations and influences. If your work is found to be derivative in
any way of other peoples’ work, and you haven’t flagged this up, then it could affect your
grade and progression (see the Written Work, Referencing, Plagiarism and Unfair
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51. Practice sections of this handbook). Please be careful to thoroughly check your work in
this regard, take time to read through the relevant sections in this handbook and seek
advice if you are unsure about any of this.
4 Indicative Content
A series of lectures and seminars will introduce the basic concepts and historic
developments of modern music, improvisation and new forms of notation in support of
practice based teaching and learning.
Students will be introduced to a range of musical perspectives through weekly lectures
and listening/seminar sessions and encouraged to engage and debate in order to form
their own individual perspective and approach.
The historical and theoretical issues will then be explored in a further weekly seminar
session where students are given the opportunity to read and discuss selected texts.
Students will also be asked to undertake reading and research towards individual and
group outcomes such as student led seminars.
Example Content
Week 5. Rethinking Music (The New Music)
Two-hour listening and seminar session:
Rationale
To expose students to the challenges of modern music and the break with 200 years of
Western composition where composers began to explore a greater variety of musical
and compositional ideas. The session will include a brief introduction to Serialism, Dada,
Darmstadt, and the music of Cage, Cowell, Partch, Nancarrow and Fluxus among
others.
Session Aims
1. To introduce students to a number of composers working in the early to mid 20th
century.
2. To introduce musical innovations in the early to mid 20th century.
3. To study extra-musical influences and assess the changing nature of music.
4. To discuss early multimedia and interdisciplinary practices.
Session Outcomes
Students should be able to:
1. Discuss the transition between early modern composition and experimental
composition;
2. Discuss key experimental composers of the early - mid 20th century;
3. Describe the key musical developments of the early - mid 20th century;
4. Critically evaluate a selection of experimental compositions.
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52. Method
Introduction to the session - what do we understand to be music - what constitutes a
musical experience?
Example 1: Ameriques (1921) - Edgard Varese (1883 - 1965). Discuss Varese as a
key figure in the 20th century in terms of liberating sound and structure.
Example 2: The Tiger (1930) by Henry Cowell (1897 - 1965). Discuss Cowell as a
central figure in the early 20th century as a composer, theorist and publisher of others'
work.
Example 3: The Banshee (1925) by Henry Cowell. Discuss the piece as a forerunner
to what many musicians and composers are still experimenting with and exploring today
Example 4: Sonata II (1948) John Cage (1912 - 1992). Discuss John Cage as one of
the most influential figures in 20th century music
Example 5: Instructions to create a Random Poem (1916) by Tristan Tzara. Brief
outline of Dada with a link to Fluxus
Example 6: Comb Music (1959 - 1962) by George Brecht. Discuss the musical nature
of Brecht's piece
Example 7: Composition 1960 No. 7 (1960) La Monte Young. Discuss the musical
nature of the piece
Example 8: Le Marteau Sans Maitre (1957) - Pierre Boulez (b1925). Discuss the
piece in relation to Serialism and discuss how a number of American composers
sidestepped the European move towards Total Serialism, instead investigating the
substance of music itself.
Other sessions in the Musicology 1 series will include: Pythagoras and the Birth of Western
Music, Start of the Century, Birth of the Modern Period, A Brief History of Improvisation,
Minimalism and Other Directions in the Modern Age, European Ideas, Music and New
Technologies
5 Teaching and Learning Strategy
Will normally include the following:
1. Lectures and seminars will be used to introduce the ideas underpinning the module
and to stimulate discussion and debate
2. Essay writing as a means of developing research techniques, acquiring knowledge,
and presenting ideas and arguments in written form
3. Lectures and screenings will be used to introduce the ideas underpinning this
module as well as CSM1, and to stimulate discussion and debate
4. Seminars: the debates introduced in the lectures and screenings will be developed
in group discussion. Set text extracts will also be discussed
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53. 5. Workshop sessions will address the acquisition of research, writing, communication
and presentation skills and techniques
6. One to one tutorials supporting the individual development of self-direction and
independent research
7. Essay writing as a means of developing research techniques, acquiring knowledge
and presenting ideas and arguments in written form
8. Seminars (Running Discourse) will also be used for the discussion, development and
critique of group proposals and to review research plans and work in progress, as
well as for the presentation and discussion of group work by students and for
formative feedback. Students will be asked to engage in a critical reflective debate
as a process of informal and peer evaluation
9. Independent learning including directed reading and listening, related essay writing
and practice for developing creative skills
10. Use of computer-assisted learning, including, email and internet-based discussion
forums
11. A wide variety of extra-curricular activities, involving the participation in or attendance
at performances and events
6 Assessment Requirements
Seminar Paper (Summative)
Students will be required to make a 15-minute seminar presentation supported by a
properly referenced 2000 word paper and a research folder containing a range of
specified and annotated materials. You will be assessed at a presentation to the peer
group, and the supporting evidence must be submitted prior to the presentation.
This will form 100% of the final module grade (Learning outcomes 1 – 6) and students
must achieve a minimum of D5 in order to achieve credit. This will form 100% of the
final module grade. The module can be retrieved in the event of failure.
Mid-Term Assessment (Formative)
You will be required to present a synopsis of the M1 seminar paper (see below for title),
demonstrating how it relates to the issues and concepts contained in the module as well as a
research folder. As part of this process, there will be an opportunity for you to discuss your
overall progress in the module and get feedback from your tutor.
What is formative assessment?
Formative assessment is an interim 'work in progress' diagnosis carried out during the
assignment period, providing you with the opportunity for feedback from the programme
staff. The purpose of this input is to give you advice on "where you are at" with the
project and how to improve the quality of learning. Formative assessment maybe carried
out through group or individual tutorials and critiques.
What is summative assessment?
Summative assessment is more comprehensive in nature and is used to check the level
of the student’s learning at the end of an assignment (here the student will be assigned
a final grade subject to Exam Board ratification, using the Assessment Criteria set out
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