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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.

http://www.qaa.ac.uk/en/Publications/Documents/Subject-benchmark-statement-Music-.pdf

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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

[email protected] 01934 411218

Lee Sullivan Curriculum

Coordinator

[email protected] 01934 411216

Link tutor

Name Role Email

Pete Bernard Senior Lecturer in

Commercial Music, Bath

Spa University

[email protected]

mailto:[email protected]



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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

19

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)


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.

http://www.macprovideo.com/

http://www.groove3.com/

http://www.lynda.com/

21


2 Module title Recording Studio Practice


4 Pathway(s) N/A

5 Level 4

6 UK credits 40

7 ECTS credits 20









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.


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


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.



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




F2. Milestones


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%



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















Lynda www.lynda.com




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.






24


2 Module title Music Production in Context


4 Pathway(s) n/a

5 Level 4

6 UK credits 40

7 ECTS credits 20












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.


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





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.



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




F2. Milestones

F3. Presentation


S1. Poster Presentation (2000 words equivalent)

S2. Creative Portfolio (4000 words equivalent)

S3. Research Essay (4000 words)

Weighting%

20%

40%

40%



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.















Lynda www.lynda.com




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.






27

Level 5 Modules


2 Module title Sound for Media


4 Pathway(s) n/a

5 Level 5

6 UK credits 40

7 ECTS credits 20







14 Duration of the module 30 week





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.


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





summative assessments. All material from the lecture series can be revisited using the VLE

(Moodle).



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




F2. Milestones

F3. Peer Presentations





Weighting%

35%

15%

50%



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















Lynda www.lynda.com




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.






30


2 Module title Advanced Music Production


4 Pathway(s) n/a

5 Level 5

6 UK credits 40

7 ECTS credits 20









16 Module co-ordinator Dr Niall Thomas



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.


Advanced Digital Audio Workstation use

Extended musicological principles and concepts

Critical analysis of discrete production processes

Creative application of digital audio tools





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.



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




F2. Milestones

F3. Peer Presentations


S1. Emulation Project (2500 words equivalent)


S3. Creative Portfolio (5000 word equivalent)

Weighting%

25%

25%

50%



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















Lynda www.lynda.com




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.






33


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









16 Module co-ordinator Tony Hobden



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.





summative assessments.

34



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




F2. Milestones

F3.Presentations


S1. Live Sound Assessment (2500 word equivalent)


S3. Events Management Project (5000 word equivalent)

Weighting%

25%

25%

50%



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.















Lynda www.lynda.com




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.






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

Ctrl+Click here to return to the table of contents

https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970