15 Bahons CMP

BA(HONS) CREATIVE MUSIC
PERFORMANCE
AWARD DOCUMENT 2014/2015
Student Administration
VERSION 2 - 01 JULY 2015 BAEMUCMPPO

VERSION CONTROL
VERSION PURPOSE/CHANGE AUTHOR DATE

NUMBER
QST
Course approved first version 03/09/14
1 David Capps
Dime-035 amended to reflect course title change
QAE
on music entrepreneurship (formerly innovation in 01/07/2015
2 artist management)/module leader updates
Rebecca Edgerley
Page 2 of 2
Award Map - BA(Hons) Creative Music Performance
Stage 1 (Level 4) Stage 2 (Level 5)

Trimester 1 & 2 Trimester 3 & 4
DIMEO-P110 Technical DIMEO-P210 Advanced Techniques
Development (30 credits)
(30 credits)
DIMEO-P120 Improvisation DIMEO-P220 Advanced
(30 credits) Improvisation
(30 credits)
DIMEO-P130 Artist Studies DIMEO-P230 Artist Analysis
(30 credits) (30 credits)
DIMEO-P140 Rhythm Studies DIMEO-P240 Composition and

(20 credits) Arrangement
(30 credits)
DIMEO-P150 Practice Planning
(10 credits)
Stage 3 (Level 6)
Trimester 5 Trimester 6
DIMEO-P310 Developing Your DIMEO-P330 Solo Performance
Own Style (40 credits)
(30 credits)
DIMEO-P320 Applied Techniques DIMEO-035 Professional Practice
(30 credits) Portfolio
(20 credits)
EMUCMPPO Award Doc v2 Award Map v1

Award Information Form (AIF)
The AIF provides essential information to students, staff teams and others on a particular award or
a group of awards in a course and is designed to meet the Universitys expectations and those of
external bodies such as the Quality Assurance Agency (QAA) in respect of course specifications.
Please refer to the Guidance notes on completing Award

Information Forms before completing the details below
SECTION 1 - General Award Information
Qualification (award type) BA(Hons)

Award Title Creative Music Performance
Intermediate Qualification(s) Cert HE, Dip HE
Awarding Institution Falmouth University
Delivery Partner DIME Online
Location of Delivery Online
Duration of Award 4 years, part-time
Professional, Statutory and
N/A
Regulatory Body accreditation
Accreditation Renewal Date
N/A
(Month and Year)
Route Code (SITS) EMUCMPPO
UCAS Course Code N/A
Subject Benchmark Statement
Relevant External
Music (2008)
Benchmarking
QAA 249 05/08
EMUCMPPO Award Doc v2 AIF v2

SECTION 2 Entry Requirements, Student Support and Further Opportunities
Entry requirements
Standard:
Standard entry requirements for UK students and students from the European Union
Falmouth University recognises a wide variety of qualifications and/or relevant experience, and encourages
applications from people of all ages, backgrounds and cultures, with a demonstrable interest in their subject.
As well as the specific information listed on the individual course pages, please see the table of our entry
requirements below.
This table refers to different level qualifications e.g. A Levels are considered a Level 3 qualification. A
BA(Hons) degree is a Level 6 qualification.
For entry to Year 1 of an undergraduate degree
Level 3 qualifications A levels (however not AS or A1 levels

on their own)
Successful applicants to our undergraduate
degree courses will have one of the following National Diploma
qualifications, depending on the course applied
for and its recommended entry requirements: Foundation Diploma
14-19 Advanced Diploma* (see below)
International, French, European or

Welsh Baccalaureate
Scottish Highers
Irish Leaving Certificate
Access to HE Diploma
Other appropriate qualifications

evidenced through APL
(Accreditation of Prior Learning) or other
relevant experience evidenced through
APEL (Accreditation of Prior
Experiential Learning)
*14-19 Advanced Diploma
Of the subjects currently available through the

14-19 Advanced Diploma, three are suitable for
particular BA(Hons) degrees at Falmouth
For entry to Year 2 or 3 of an undergraduate degree
Level 5 qualifications Foundation Degree
If you hold one of the following Level 5

qualifications, in a subject directly related to one Higher National Diploma
of our BA(Hons) courses, you may apply to join
Year 2 (or occasionally year 3) of that related
degree:
Other relevant and equivalent Level 5
qualifications evidenced through APL
(Accreditation of Prior Learning)
For more information on the National Qualifications Framework, please go to

http://www.qaa.ac.uk/academicinfrastructure/FHEQ/default.asp
In addition to the qualifications listed above, there are also specific requirements for certain subject areas
(see below).
Students from the European Union If your first language is not English, it is really important that you have
the necessary English language skills before commencing your studies at DIME Online. While there is
support for you, it is required that you first have the basic requirements of IELTS (or a recognised equivalent
testing system) level 5.5 for foundation studies and level 6.0 for undergraduate degrees. Please visit
www.falmouth.ac.uk/international for further information.
International students Academic qualifications are assessed on an individual basis and equated to UK
entry requirements using the UK NARIC qualifications database to ensure academic quality. Applicants also
must meet the minimum English language requirement - which is IELTS 5.5 for Foundation, IELTS 6.0 for
undergraduate courses and IELTS 6.5 for postgraduate study. Other English language qualifications are
accepted and assessed on an individual basis, but they must equate to the IELTS levels specified.
International applicants are also required to submit a portfolio or examples of their work (where appropriate),
along with two academic references and a personal statement
DIME Online Admissions Policy
DIME Online is committed to promoting equal opportunities for all applicants. We actively seek to recruit
a diverse student body that is reflective of the wider community. This includes students from the UK and
overseas. We believe that a diverse student body provides for a more creative and dynamic community and
this is in line with the ethos and mission of DIME Online. No potential student will be excluded from entry to
any course as a result of discrimination on the grounds of age, race, colour, nationality, ethnic origin, sex or
sexual orientation, mental status, disability, religion or belief. DIME Online will operate within the guidelines
of the Disability Discrimination Act.
The aims of this Admissions Policy are to ensure that:
Entry criteria is transparent and justifiable
Applicants to DIME Online are treated fairly
Applications are responded to promptly and efficiently
Decisions in respect of admissions are made and applications dealt with by appropriate staff
Clear and impartial advice is given to applicants and that they are placed on the most appropriate
course.
Appropriate policies and procedures are implemented and followed in non-formal applications (non-
standard or no qualifications)

DIME Online undertakes to:
Conduct regular reviews of all recruitment and admissions procedures
Provide prospective students with good factual information about our course offer and what students
who join us can expect to experience, through our website and our prospectus materials as well as
through any promotional events and schools exhibitions we may attend
Regularly check all prospectus and website materials to ensure they are accurate and up to date
Pre-application
DIME Online aims to send a prospectus pack to all applicants within 48 hours of their initial enquiry
Pre-application information is available from the website, in prospectuses, leaflets or brochures

covering the following areas:
Course details including; details of indicative curriculum
Accreditation/approval of courses by professional bodies or Partner Colleges and

Universities
The course structures, duration, mode of attendance and qualification title
The general and subject specific entry requirements for each course
Range of resources available at DIME Online
Range of teaching staff in each specialist department
Details of all senior staff at DIME Online
Information on recent DIME Online guests and events
Information on fees and payment arrangements
Sources of financial assistance (internal and external), including scholarships and

bursaries
Information on library and learning resources
At Initial Assessment / Audition
Relevant information will be made available to applicants prior to their assessment
Applicants will have an individual interview with a specialist admissions tutor who will assess their
level of skill and aptitude, their range of qualifications and expected future attainments
Each applicant will receive immediate feedback on their assessment, and where appropriate, an
offer will be made

Applicants will receive an explanation regarding the academic and other support services available.
Should any additional learning support needs be identified these will be followed up by appropriate
specialist staff post offer
Selection
Selection of students is made on the basis of evidence of musical, academic, and personal experience that
meets the advertised admissions criteria for a particular course. Additionally, admissions staff will look for
evidence of an individuals potential to benefit from study at DIME Online and to make a positive contribution
to the institution. We aim to secure a good match between the abilities, aptitudes and objectives of the
applicant and the demands of the course and that any offer made is at a level that is appropriate to the
potential of the applicant to succeed and progress towards their own goals.
In addition to the academic requirements, applicants must possess an appropriate level of performance
experience, technical facility and critical listening. Grade 5 (or equivalent skills) musical qualifications are an
indicative level of musical ability. Previous experience in live performance is an advantage, and will be taken
into account of the applicants overall skill set. For example, the ability to undertake a semi professional level
gig in a convincing manner is a key factor in a successful application. In addition to these skills, all applicants
must demonstrate drive and commitment to their course of study. The ability to sight read musical notation is
an advantage but not an essential skill.
Students With Disabilities
DIME Online has a strong commitment to enabling and supporting students with disabilities to fully engage
with their studies. Every effort will be made to identify the potential needs of students with disabilities within
the detailed admissions interview. This can be organised on the phone or via email with the admissions
team prior to the start of the course. Reasonable adjustments will be made for those with identified special
needs during the admissions process.
Although DIME Online will be responsive and inclusive to students with specific learning needs, they may
have to self-fund any regular assistance and support depending on their requirements. As a starting point to
support students, DIME Online have employed an Inclusive Learning Consultant who will review and monitor
the Canvas delivery platform and advise on its suitability for dyslexic musicians. The Inclusive Learning
Consultant can provide DIME Online students with an assessment of their learning needs if this is
requested, although Module Leaders and Senior Managers may refer a student to them at any time.
Any student with a disability can discuss with their admissions tutor aids, adaptations or special
requirements that will be required to enable them to fully participate in the course. If necessary, an
accessibility study will then be commissioned and DIME Online will put reasonable adjustments in place as
needed. Induction, registration and enrolment activities are also fully accessible to disabled students, and
the needs of any student are accommodated in the design of such activities. As part of DIME Online Equal
Opportunities Policy admissions staff will monitor the admissions of students with disabilities. UK and eligible
EU students are supported via the Disabled Student Allowance. Students who are not eligible for DSA are
supported via internal funding where possible.
Accreditation of Prior Learning APL & APEL
Where an applicant wishes to transfer onto the course from another course, with or without advanced
standing, the admissions team will undertake a review of their attainment in order to confirm that they are
suitably prepared to enter the course, and that the credit they have achieved elsewhere can contribute to
their qualification. The AP(E)L policy of the Falmouth University will be followed in each case. No applicant
for transfer will be accepted unless the process described in the policy has been implemented.
Where an applicant has worked for some time and gained relevant experience it is also possible to gain
entry as a mature student according to AP(E)L. Mature students are encouraged to outline other qualities
and experiential learning that might be equivalent to the formal academic requirements, and the admissions

tutor will take into account all evidence for the applicants suitability for the course and their achievement and
skills at the interview. This data is recorded on the appropriate form alongside the candidates academic
records.
Student Support
Audition/Enrolment
Students will be guided through the process at every stage; from initial enquiry and audition to enrolment on
the course. The DIME Online Recruitment Manager (RM) is responsible for overseeing the quality of
communication with students. The RM will ensure that prospective students receive a clear and transparent
assessment of their suitability for the course, prompt feedback on their audition performance, and clear
information on the course content, fees and online delivery methods.
At enrolment DIME Online will adopt Falmouth University procedure for data collection and will use the SITs
system.
Prior to the course starting DIME Online will provide a one week orientation course consisting of:
How to navigate the delivery platform (video tutorial and live Q & A session with DIME Online Head
of Education
Introduction to the course, staff, procedures and rules and regulations (video tutorial)
Access to resources (library and specialist)
Where to go for help and guidance (academic, career, tutorial)
Introduction to Higher Education (Lecture)
Introduction and networking with peers through Canvas
Continual Academic Support
This is provided in the form of regular study skills and sign post lectures delivered by the DIME Online Head
of Education or an appropriate staff member. In addition to this, DIME Online offer one to one tutorials by
phone, email or video conference through the Canvas delivery platform.
Students will be supported in their studies by a Module Leader who will guide their academic progress and
facilitate academic and pastoral support through liaison, where appropriate, with both the student and the
relevant support service.
Pastoral Support
This is provided day to day by the Quality and Student Support Manager and delivered though phone, email,
and video conference through the Canvas delivery platform. Where required DIME Online can recommend
online counselors, but may have to pass on the cost of this to students. This is specified in the website and
explained in writing on enrolment.
Careers
DIME Online is deeply committed to providing career advice and support. This starts in the recruitment of a
roster of tutors who exemplify the values of a successful self-employed music professional in todays music
industry. DIME Online courses and learning outcomes reflect the music business as it is today, and our
commitment to course development will ensure their currency in the future. Students are encouraged
through the course to form realistic and achievable career goals, underpinned by research and experience,
providing a genuine understanding of the structure and operation within the industry. The philosophy is
described as designing your own professional life and a musician will see this theme recurring throughout

the course.
In addition to the course itself DIME Online provide career-based master classes from world-renowned
artists, the content of which will reinforce the learning outcomes of the course.
One-to-one career guidance, and group tutorial/Q and A is provided by the DIME Online team; Recruitment
Manager, Head of Education and some selected Module Leaders. All these people have had, and maintain,
current careers in the music industry at a high level.
Support Times and Availability
Student support in all areas (academic, pastoral and careers) will generally take place by arrangement
between staff and student within the hours of 9 am 6 pm (GMT) Monday to Friday. However, there may be
exceptions and these will be arranged on a case-by-case basis. Students are not limited to the number of
support sessions they receive, but the amount of the support given will be dependent on student demand
and the availability of staff within the hours of a normal working week. As a minimum, DIME Online staff
commit to a 20-minute one to one tutorial for each student every two weeks. Additionally, group tutorials will
take place on a regular basis.
Library
DIME Online students can access the online library facility at Falmouth University through the My Falmouth
Student Portal. Copies of all core texts listed in the Module Information Forms are available in the library
resources. However, not all of the additional or recommended texts are available in electronic form. Students
are encouraged to purchase these texts when possible, but this is not mandatory. Students are inducted into
the library in the orientation week prior to the course.
Distinctive Features
The BA(Hons) Creative Music Performance course allows students to study under the guidance and
supervision of internationally recognised leaders in the field. The intensive nature of the course enables
learners to become skilled practitioners and provides the freedom for them to develop their own unique and
innovative methods of working in their chosen field. The course is distinctive in the following ways:
It provides students with specialist tuition from world class tutors, all of whom are active in the music
industry and in educational practice
It emphasises the importance of free-thinking and individuality in a commercial world, allowing
students to choose areas of emphasis in key areas of the course
The online delivery mode provides the student with flexible access to lectures and multi-media
course content through an interactive online delivery platform
The learning process is supported by individual and group tutorials that occur at flexible times by
arrangement with the tutor
Students are encouraged and guided in the development of their own individual and innovative style
in their discipline
Within the course, modules will ensure that you develop your research and writing skills and develop
contextual and cultural awareness. Your practical studies will be supported with projects that will help you to
contextualise your work into the wider arena, where you can identify, forge and nurture many new career
opportunities.

Virtual Learning Environment (VLE)
Access to the virtual learning environment Canvas will be via http://falmouth.instructure.com. This will be
accessible via the following devices:
Desktop
PC (Windows XP S3 & Newer)
Mac (OSX 10.6 & Newer)
Linux (ChromeOS)
Mobile
iOS 5 & Newer
Android 2.3 & Newer
Below are the recommendations for computer specifications:
Computer Speed & Processor

Use a computer 5 years old or newer when possible
1GB of RAM
2GHz processor
Internet Speed
Along with compatibility and web standards, Canvas has been carefully crafted to accommodate low
bandwidth environments
Minimum of 512kbps
Screen Readers
Latest version of JAWS for Internet Explorer 9 & 10 and Firefox
Latest version of VoiceOver for Safari
There is no screen reader support for Chrome
Please note that this has been taken from Instructures recommendations provided here:
http://guides.instructure.com/s/2204/m/4214/l/82542-what-are-the-basic-computer-specifications-for-canvas
Canvas
Canvas is the VLE (Virtual Learning Environment) where the delivery of the course will take place. This will
include every aspect of your course and in order for you to gain the best understanding of environment
before you login, we have provided explanations of the areas below.
How do I Login?
Please note this will be revised due to working out the automatic enrolment methods to modules inside
Canvas.
The way in which you login to the VLE is via http://falmouth.instructure You will be prompted for an email
address and password. This will be the one you are provided with during the enrolment process. For
example JB12221@falmouth.ac.uk. If you have any difficulties with your email address or password please
contact the Service Desk via 01326 213822.
Making Canvas Personal

When you login for the first time you will be prompted to configure your communication preferences. This will
allow you to manage how you receive notifications from the environment. For example, you could set it so
that you receive a weekly summary of posts to the My Studio area. You can also add additional modes of
communication via the settings panel on the left hand side. Here you can connect your social networking

accounts such as Facebook or Twitter. This will allow you to be notified via these channels if you require.
This could be useful for being alerted when you have received feedback on your assignments.
Dashboard
Upon logging in you will be presented with your dashboard. Here you will be provided with an insight into the
recent activity within your course. This is broken up into the following sections:
Recent Activity This section includes any important announcements, assignment notifications
and also any activity within the My Studio area.
To Dos Your To Dos consist of areas that require your engagement within your course. For
example, this may be an assignment that needs submitting or that you are required to take a quiz.
Coming Up Coming Up provides you with an insight into any events within your Calendar.
Recent Feedback This section will consist of any feedback you have recently received for any
assignments or quizzes.
Announcements
Within the environment there will be a designated area for announcements. Typically these will be course
specific. For example, it may state to remember to submit Assignment One by 10:00pm on Friday. It will be
vital that you ensure you check this area frequently. You can configure your communication preferences, as
stated above, to ensure you get these announcements immediately and over any social networks you
specify.
It is also worth noting that you have the ability to get feeds of course announcements for a range of devices.
This will allow you to receive a feed of course announcements on a range of devices and software. This
page http://guides.instructure.com/s/2204/m/4212/l/50742-how-do-i-subscribe-to-an-announcement-feed
illustrates how to add feeds to your devices.
For more information on the Announcements page please visit:

http://guides.instructure.com/s/2204/m/4212/l/76772-how-do-i-use-the-announcements-index-page.
Your Modules
You will be able to access your Modules via the menu on the left hand side of the screen. This will take you
to a page where you will be able to view all of your active modules for your course. This includes any
teaching material and assessments for that module.
Lectures
Your lectures will be accessed via the online platform and will be broken down week by week. These will be
provided in video format and will be accessible (and have parity) across a range of devices noted in the
minimum specification. A typical lecture will consist of a body of text explaining the subject matter that week.
The text will be complemented and amplified through embedded video content, URL links and other media
as appropriate. There will also be tasks and additional reading associated with each lecture. It is envisaged
that an interactive lecture of this kind will require approximately two hours for a student to complete.
Additionally, there will be real-time lectures and events that will operate within specific time parameters and
will allow students to interact with their tutor and peers in an online classroom.
Conferencing
Conferences make it easy to conduct real-time events and discussions within the course. This functionality
will be used within the following ways:
Presentations
1-2-1s
Guest Lectures

You may be invited to a course-wide or individual conference. If you would like to know how to join
conferences within the environment please view this article:
http://guides.instructure.com/s/2204/m/4212/l/119674-what-are-conferences-in-my-course.
Group Tutorials
Group tutorials will be delivered using the conference section within the environment. You will receive an
email notification when you have been invited to a conference. Where possible, students will be given more
than one option on group tutorials to accommodate different time zones. The invitation will simply contain a
link, which will take you directly to the tutorial. For more information on how to access and join conferences
please read this article: http://guides.instructure.com/s/2204/m/4212/l/41982-how-do-i-join-a-web-
conference.
Website
The delivery platform is supported by a frontend website which will be online in late November 2013. The
frontend website provides information to newly interested parties, whereas the delivery platform provides
content, communication and community integration to students enrolled on the course. DIME Online places
a great emphasis on one-to-one consultation and guidance, which takes place via messaging and
conferencing within the delivery platform.
Career/further study opportunities
The BA(Hons) Creative Music Performance course will provide you with a diversity of experiences and
enable you to develop a strong skills base and theoretical underpinning. On completion of the course you will
have a varied portfolio of creative work and have an understanding of how to develop your own unique
approach to your specialism and apply this into the wider industry. These will equip you well to identify,
create and respond to the many musical opportunities that exist throughout society.
Further career opportunities/destinations may include:
Solo or ensemble/group performer

Music entrepreneurship
Session playing
Author of educational materials (e.g. books, DVDs, etc.)
Product demonstrator
Teaching
Further study opportunities include:
Postgraduate Diploma or Master of Arts

PGCHE (teaching course)

SECTION 3 Teaching, Learning and Assessment
Educational Aims
The BA (Hons) Creative Music Performance award aims to equip and empower individuals with specialist
instrumental skills and techniques that engender the development of a creative and individual approach in the
performance and creation of music.
The Creative Music Performance student will specialize in developing individual instrumental skills and the
constituent parts of performance with an emphasis on an individual approach to the instrument. Students will
perform as soloists or in bands, devise systematic and effective practice routines and develop composing and
general musicianship skills. Alongside the creative development of instrumental technique, performance and
composition skills, students will be asked to reflect critically on their practice. Additionally, they will analyse the
relevant repertoire of artists who have established the vocabulary of the instrument and from whom they may
extract relevant concepts in the amalgamation and conceptualizing of their own unique sound and
performance style.
Further, the course is designed to equip students with essential time-management and organizational skills
that will enable effective use of their time through the use of strategic planning. As the student engages with
course, they will ultimately be expected to learn and compose repertoire, be fluent and inventive as an
improviser, reflect critically and demonstrate an individual approach in sound and performance through the
totality of their learning.
BA(Hons) Creative Music Performance has the following awards aims, enabling you to:
1. Develop technical competence and fluidity of expression on the instrument

2. Develop the various elements of musicianship typified in professional performance practice
3. Define and demonstrate in appropriate forms the conventions and vocabulary of your instrument
4. Use relevant techniques and methods to explain and demonstrate the interrelationships between
theory and practice in music
5. Generate ideas and construct arguments in both verbal and written form and to evaluate such
ideas and arguments critically
6. Evaluate processes and methodologies in your practice and apply appropriate transferable skills to
other creative and professional contexts
Learning Outcomes
Upon successful completion of this award, you should be able to:
1. Demonstrate a secure technical foundation and broad musical skills as typified by industry
professionals
2. Display core improvisational skills in performance at an appropriate level of study
3. Demonstrate an individual musical voice through expression, interpretive insight and creativity in
performance and improvisation
4. Define and apply a broad knowledge of relevant repertoire, styles, technologies and skills to the
discipline
5. Demonstrate knowledge of the music studied in the wider context of historical, cultural and social
practices relating to music performance, evaluating the influence of context on industry practices.
6. Evidence imagination, creativity and technical skills in composition and arrangement
7. Gather and assimilate information and present work in oral and written form, demonstrating skills
in organisation, synthesis and critical evaluation as relevant
8. Work independently and in collaboration with others to complete projects, applying critical self-
awareness, teamwork and organisational skills as required

Teaching Strategy
The teaching strategies deployed within the award seek to reflect and apply the educational philosophy of the
institution and the rationale, aims and learning outcomes of the course. The intention is to engage the active
participation of a committed group of academic and technical staff and students. The range of strategies is
accessed through the online delivery platform and aims to encourage the development of the critical
practitioner and the production of a mature body of work.
Students at DIME Online will benefit from the following modes of teaching:
Collaboration within a global community, their regular interaction with peers and tutor group will not
be limited to geographical boundaries.
Substantial Weekly Lectures embedded into the delivery platform, featuring filmed tuition from the
very best artists from around the world, underpinned by video commentary and text from the academic
Module Leader and Head of Department.
Monthly Signpost Sessions delivered by the Head of Department and comprising of film and text
guidance on progression through the course, context, assessment, timing of feedback and providing
inspiration and focus to the academic backbone of the course.
Regular One-To-One Tutorial Guidance from the Head of Education and Head of Department on
matters relating to the course, musical performance and student care.
Exclusive Master Classes from world famous artists comprising of bespoke filmed interviews and
performances, angled towards supporting the learning aims of the courses.
Assessment Strategy
Assessment offers students the opportunity to engage in an active learning process that; a) confirms their
achievement and b) provides them with feedback on their progress, including the identification of strengths and
weaknesses and an overall evaluation of their performance. Assessment provides the course team with a
means of offering students guidance in evaluating their own progress, a means of offering students advice and
guidance on their work, a means of monitoring and evaluating the course and a basis for conferring the final
award. Throughout the practical elements of the course, you will continually engage with processes of peer
and group critique to allow you to develop a reflective and evaluative appreciation of your own practice.
The modes of assessment used in this award include:

Single or multiple performances in solo and/or group contexts
Portfolio of work (both performance and/or compositional)
Small in-lecture tasks (solo and group)
Tests
Essays
Project Presentation
Project Documentation
In some cases, more than one mode of assessment will be used within a module to ensure that the learner
can demonstrate that they have met all of the learning outcomes. The work produced for these assessments
develops graduate outcomes required in employment, such as a high level of performance competency, time
management, written and oral communication, portfolio production, and team working. This is alongside self-
motivation, independence and creativity of thought.
DIME Online believes strongly in communicating regularly with students and providing feedback on their
assessed work that is constructive and timely. As a minimum, all students will receive feedback on each
individual module at the halfway stage through a formalised formative assessment point. Additional feedback
on the progression of work within modules will be provided as appropriate by tutors on a week by week basis
and will be available for you to read on the canvas platform as the modules progress. This type of feedback is
designed to support you in the ongoing development of your practice, providing information about how your

work is developing within specific modules, as well as giving the opportunity for conversations about how you
can continue to develop your practice in the future. Peer feedback is highly valued within this process and
provides additional support with professional development. If you have any questions about feedback you
should contact your tutor in the first instance.
The following are the time frames in which students can expect communication and feedback to take place.
Please note that these response times are indicative and may vary if there are unforeseen circumstances such
as staff illness or holiday periods.
1. Responses to general enquiries two working days

2. Feedback on weekly tasks five working days
3. Feedback on formative assessments five working days
4. Feedback on summative assessments ten working days
Because DIME Online is a UK based organisation, a working day is defined as being from 9 am 6 pm (GMT)
Monday to Friday. Staff will generally make responses within the hours of a normal working day. However, this
may vary in some cases based on the availability of DIME Online staff outside of normal working hours.
Course Workload
The BA(Hons) Creative Music Performance course contains 360 credits across three levels of academic study
that are allocated in the following manner:
120 credits per HE Level (4, 5, 6)

Level 4 (Trimester 1 & 2)
The following are the various ways students will engage with their course and an estimated time that they
should spend weekly in each area. Please note that the time spent in each area will vary for each individual.
Lectures (7-8 hours)

Group seminars and workshops (2 hours)
Tutorials (1 hour)
Master-classes (1 hour)
Assignment/task work (5-6 hours)
Skill development/practice routine (14-15 hours)
Additional reading and interests (4-5 hours)
Networking (1-2 hours)
For students who study part-time, the weekly time commitment will depend on the number of modules
being studied concurrently. For example, a 20 credit module would typically demand 15 - 20 hours of
study per week.

Module Level Module Name Credit Core Assess-
Contributing towards the Learning Outcomes
Trimester Option ment
code (Taught (T), Practised (P) and/or Assessed (A))
(C) (O) methods*
(1) or (2) 1 2 3 4 5 6 7 8
DIMEO-P110 4 Technical Development 30 1&2 C PF TPA TPA TPA
DIMEO-P120 4 Improvisation 30 1&2 C PF TPA TPA TPA
DIMEO-P130 4 Artist Studies 30 1&2 C PF, ES TPA TPA TPA
DIMEO-P140 4 Rhythm Studies 20 1&2 C ES, PF TPA TPA TPA TPA
DIMEO-P150 4 Practice Planning 10 1&2 C OT TPA TPA TPA
DIMEO-P210 5 Advanced Techniques 30 3&4 C PF TPA TPA TPA
DIMEO-P220 5 Advanced Improvisation 30 3&4 C PF TPA TPA TPA
DIMEO-P230 5 Artist Analysis 30 3&4 C ES, PF TPA TPA TPA
DIMEO-P240 5 Composition and Arrangement 30 3&4 C PO TPA TPA TPA
DIMEO-P320 6 Applied Techniques 30 5 C PF TPA TPA TPA TPA
DIMEO-P310 6 Developing Your Own Style 30 5 C PF, ES TPA TPA TPA
DIMEO-035 6 Professional Practice Portfolio 20 6 C PO TPA TPA
DIMEO-P330 6 Solo Performance 40 6 C ES, PF TPA TPA TPA TPA TPA
Curriculum Structure, Assessment Methods and Learning Outcomes
*The following codes for assessment methods apply

(additional codes can be proposed through this process, if necessary):-
AR artefact OR oral
CB computer-based PC practical
CE critical evaluation PF performance
CS case study PL placement
DI dissertation or project PO portfolio
ES essay PR presentation
EX exam RE individual report
GR group report SP studio practice
IT in-module test LR literature review
JL journal/logbook OT other
EMUCMPPO Award Doc v2 AIFv2

SECTION 4 Learning and Employability
Skills Development Strategies
Knowledge and Understanding

You will draw on theoretical, practical and material knowledge and synthesise these to make new work.
Intellectual Skills
To help with the development of this you will engage with and reference a variety of sources of information
in the development of your own ideas and work, making informed choices about their validity and
evidencing your decisions.
Practical Skills
In addition to developing performance and composition skills and techniques, you will also employ methods
of research in relation to your own body of practice, evaluating materials, processes and approaches and
evidencing appropriate strategies in their communication and creation.
Transferable Skills
You will engage and contribute to seminars and lectures, produce presentations oral or written, engage in
group work, discuss your own and others practice and invoke modes of communication that are
appropriate for musical ideas.
Career Management Skills
During the course you will develop career management skills, which are integrated within the processes of
personalised learning for employability and the professional student. You will undertake self-assessment to
identify your strengths, interests and development needs in relation to external criteria, under the guidance
of an academic advisor. The process of assessment is informed by staff and peer review of your work.
Specific career management skills (for example, effective and economical instrumental practice) are
addressed in appropriately focused modules.
HEAR / Progress Files
All students are entitled to a transcript detailing the modules they have studied and the results given for
those modules. The transcript is normally issued on completion of studies at the University.
Professional Standards
During the course of your study, you will be made aware of various professional bodies that may be
advantageous for your professional development.
Should students find themselves involved in working with children or young adults during their course of
study whether on projects or placements the University will guide them in acquiring the necessary
Criminal Records Bureau certification.
EMUCMPPO Award Doc v2 AIFv2

1 2:1 2:2 3 Fail
Category Learning Outcomes 70% 60-69% 50-59% 40-49% Below 40%
(Threshold)
01 Demonstrate a Comprehensive Extensive working Good working Adequate working Failure to achieve the
knowledge and knowledge and knowledge and knowledge and secure learning outcomes at this
Techniques secure technical accomplished execution execution of a range of execution of a range ofexecution of a range of time. Further work is
foundation and broad of a wide range of music music techniques. Work music techniques. Work music techniques. Work needed in order to
musical skills as techniques. Work demonstrates high levels demonstrates robust anddemonstrates consistent successfully engage with
typified by industry demonstrates high levels of technical proficiency consistent levels of levels of technical the techniques and
of technical proficiency and professional technical proficiency in
proficiency and industry standards.
professionals
and professional musicianship. professional contexts. professional Some evidence of
musicianship. Consistently evidences a Evidences a creative musicianship. Evidences technical ability but
Consistently evidences a creative engagement in engagement appropriate a creative engagement poorly articulated. Work
creative and innovative a range of professional to a range of industry appropriate to is below the threshold
engagement in a range contexts. contexts. established industry standard for the course.
of complex situations. contexts.
02 Display core Sophisticated Proficient performance Accomplished Adequate performance Failure to achieve the
performance and and improvisation performance and and improvisation learning outcomes at this
Competency improvisational skills
improvisation repertoire repertoire that is improvisation repertoire repertoire that is time. Improvisational
in performance at an that is executed across a executed across a broad that is executed across a executed across a range skills are rudimentary
appropriate level of broad range of music range of music genres range of music genres of familiar music genres and shows limited
study genres and performance and performance modes. and performance modes. and performance modes. engagement with course
modes. Demonstrates Demonstrates consistent Demonstrates Demonstrates materials. Further work
significant development development of practice development of practice development of practice is needed in order to
through the extension through the extension of through the exploration appropriate to the develop the required
and synthesis of practice skills base into new and of practice modes in required level. skills to achieve the
into new and unfamiliar unfamiliar territories. unfamiliar territories. threshold standard.
territories.
03 Demonstrate an Highly developed Extensive synthesis of Good synthesis of Adequate synthesis of Failure to achieve the
synthesis of discipline discipline knowledge and discipline knowledge and key elements of learning outcomes at this
Creative individual musical
knowledge and instrument vocabulary in instrument vocabulary to discipline knowledge, time. Approaches to
Engagement voice through instrument vocabulary in expression of individual convey the expression of approaches and performance practice are
expression, performance practice. performance practice. individual performance techniques, to convey at a basic level and
interpretive insight Work is professional in Work is professional in practice. individual style in require further
its presentation and its presentation and Work is competent in its performance. Work is development to meet the
and creativity in
execution, utilising an execution, utilising a execution, utilising a competent, using well- threshold standard.
performance and innovative range of range of creative range of methods, established processes
improvisation methods, techniques, methods, techniques, formats, and modes of and modes of
and modes of and modes of presentation appropriate presentation appropriate
presentation appropriate presentation. to industry standards. to industry standards.
to performance practice.
EMUCMPPO Award Doc v2 Assessment Criteria v1

04 Define and apply a Highly successful Accurate and well Good awareness of Adequate awareness of Failure to achieve the
interpretation of informed interpretation of knowledge and concepts key aspects of subject learning outcomes at this
Repertoires broad knowledge of
concepts relevant to the concepts relevant to the relevant to the discipline. knowledge and accepted time. Lack of awareness
relevant repertoire, discipline. Incorporates discipline. Successfully Incorporates a creative conventions relevant to of relevant subject
styles, technologies a highly creative incorporates a creative approach that is largely the discipline. knowledge and
and skills to the approach that is self approach that is self self directed and Incorporates a techniques and
directed and professional directed and professional professional in manner. professional approach to development of relevant
discipline in manner. Skills in manner. Skills Skills development is ongoing skills skills would need to be
development is development is ongoing and evidenced development. addressed in order to
extensive with consistent, with a good productively at the reach the threshold
accomplished integration integration of discipline appropriate levels. standard.
and presentation of knowledge.
discipline knowledge.
05 Demonstrate Independent critical Articulate critical Good critical Evidence of a sound Failure to achieve the
engagement that engagement that engagement that critical engagement that learning outcomes at this
Contexts knowledge of the demonstrates an demonstrates a good demonstrates a clear demonstrates an time. Loose
music studied in the extensive understanding of subject understanding of subject adequate understanding understanding wider
wider context of understanding of subject specific research and specific contexts. of the key aspects of music contexts that is
historical, cultural specific research and contexts. National and National and historical, cultural and unfocused and lacks
contexts. National and international contexts of international contexts of social contexts relevant critical awareness.
and social practices
international contexts of the music industry are the music industry have to the music industry.
relating to music the music industry are fully understood and been explored and the
performance, comprehensively applied in written and research applied in a
evaluating the understood and applied practical work to a range works.
in written and practical professional standard.
influence of context work to a highly creative
on industry practices. standard.
06 Evidence Excellent development Good development and Consistent development Development and Failure to achieve the
Composition imagination, creativity and application of application of and application of application of learning outcomes at this
compositional skills that compositional skills that compositional skills that compositional skills are time. Limited skills
and technical skills in are creatively expressed are creatively expressed are clearly presented. clearly presented. Work demonstrated in basic
composition and and clearly presented. and clearly presented. Work is to a professional is to an adequate composition and
arrangement Work is to a highly Work is to a highly standard and standard and arrangement techniques.
professional standard professional standard demonstrates an demonstrates a clear Some subject
with a comprehensive and demonstrates a accurate understanding understanding of engagement but not
understanding of a wide substantial of appropriate appropriate techniques successfully evidenced
range of techniques and understanding of a range techniques and modes of and modes of at this time.
innovative modes of of techniques and modes composition and composition and
composition and of composition and arrangement. arrangement.
arrangement. arrangement.

07 Gather and Independent critical Practical and written Practical and written Practical and written Failure to achieve the
evaluation and analysis work is critically engaged work is critically engaged work demonstrates some learning outcomes at this
Research assimilate
supported by an and informed by good and informed by good critical engagement and time. Some evidence of
information and extensive understanding application of evaluated use of subject-specific while accurate uses research but remains
present work in oral of subject specific subject-specific research research, generally subject-specific research unstructured and loosely
and written form, research. Research is and is accurately competently executed. A that is from readily assembled. Academic
applied across practical, conveyed. A range of number of audiences are available sources. A standards for the
demonstrating skills written and oral audiences are catered catered for in appropriate number of audiences are submission of work have
in organisation, submissions to a highly for in appropriate and and well-considered catered for in appropriate not yet been attained.
synthesis and critical creative standard. A well-considered modes. modes. modes that would benefit
evaluation as wide range of audiences from further
are catered for in an consideration.
relevant
appropriate and
professional manner.
08 Work independently Extensive ability to self- Works professionally Works productively both Works well both as an Failure to achieve the
direct, collaborate and both independently and independently and in individual and as part of learning outcomes at this
Professional and in collaboration
work effectively in a in collaboration, in a collaboration, in a a team. Demonstrates a time. Sporadic planning
practice with others to professional manner. number of professional number of professional clear ability to adapt to a inhibits the ability to self-
complete projects, Uses sound judgment to contexts. Systematically contexts. Builds upon number of contexts in a direct and motivate.
applying critical self- advance professional builds upon strengths in strengths in professional professional manner by Incomplete awareness of
practice and skills as an professional practice practice while identifying applying appropriate strengths and
awareness,
individual, taking full while identifying inhibiting factors that can project planning skills. weaknesses in approach
teamwork and responsibility for learning inhibiting factors that can be mitigated. Productive has meant contributions
organisational skills requirements. be mitigated. Good project planning skills to projects have been
as required Professional project project planning skills are consistently only been partially
management skills are are consistently demonstrated. successful.
consistently demonstrated.
demonstrated.
Work assessed below 25% indicates that little information was provided with no evidence of awareness of industry standards and practices. Practical work
(including presentations) was ineffective in its use of visual, written, oral and performance skills. Written work submitted was poorly articulated with insufficient
research references provided.
Worked Marked above 85% indicates an exemplary engagement with course material and creative contributions to the field through innovative practice.
Practical and written work has demonstrated a comprehensive engagement with both core materials and beyond. Professional standards have been met and
exceeded and the work is highly commended for doing so.

Module Information Form (MIF)
Module Name Technical Development

Module Code DIMEO-P110
SRIT to establish coding protocol
Level (FHEQ) and Stage Level 4, Stage 1
eg Level 4, Stage 1
Credit Value 30 credits
Pre and Co-requisites
Indicate module name, codes will be None
inserted later
Compulsory or Option Compulsory
Named Module Leader Mike Sturgis
Location of Delivery
Online
Trimester 1 & 2
Indicatively, this module will consist of:
Mode(s) of Delivery 52 hours of lectures (26 x 2.0 hours)
eg 1 x 2hr seminar, weekly for 13 weeks
Small groups/individual tutorials (15 hours)
Peer chat groups/master-classes (15 hours)
The Technical Development module aims to equip you with

specialist skills, techniques and methodologies ultimately
designed to expand your existing technical facility and ultimately
to enable creative musical expression. The skills and vocabulary
learned in these lectures are fundamental and will be applied
within performance scenarios throughout the course. The
techniques studied in this module will prepare you for the lecture
content in Advanced Techniques in Trimesters 3 and 4.
In addition to learning the specific content throughout the module,

Summary Module Description you will be encouraged to develop your own learning
(100 150 words) methodologies for the purpose of enhancing your technical
abilities, applying these skills into a broader musical context and
developing an unique approach to your area of specialism.
Throughout the module, you will be expected to develop a

strategic approach for learning the requisite content that employs
effective time management. Lecture content will be supported
with tutorials and enhanced with masterclass performances.
The aim of this module is to enable you to:

Develop technical competence on your instrument
Aims Explain some of the conventions and vocabulary of
Maximum of 3
your instrument
Apply the conventions and vocabulary of the
instrument into a wider musical context
EMUCMPPO Award Doc v2

Core Learning Outcomes
Assessment Criteria
On completion of this Module you
LO To achieve the learning outcome you must
should be able to:
demonstrate the ability to:
Demonstrate an understanding of Present and perform a range of specialised
technical exercises and concepts specific technical exercises
1
to the discipline
(Creative Music Performance 1)
Display elements of creativity and Perform instrument-specific vocabulary with a
3 expression in performance measure of creativity and expression
Demonstrate an awareness of the broader Evidence the use of instrument-specific techniques
musical context of techniques and into a wider musical context
4
methodologies relevant to the discipline

The learner will gain an understanding of the vocabulary and
conventions of the instrument through the module content.
Intellectual Skills
The learner will have to opportunity to develop and apply
relevant cognitive and analytical skills in relation to the
specialist content of the module.
Skills Development Practical Skills
The learner will develop the ability to perform instrument
specific vocabulary to a high standard.
Transferable Skills
The learner will have the opportunity to develop a strategic and
innovative approach to their area of specialism and will employ
effective time management skills in the planning, practice and
preparation for the assessment.
Summative assessment (Submission of filmed
performance)
You will be asked to submit a 10-12 minute filmed performance

demonstrating a range of technical exercises (e.g. scales,
arpeggios and chord sequences) that embodies the lecture
content for the module. You are encouraged to present the
content in a creative manner, demonstrating an understanding
of how to apply the material into a broader musical context.
Each example must be clearly introduced, with a brief

Assessment Strategy statement explaining the concept(s) being covered and the
rationale for the approach taken. Summative assessment will
occur at the end of Trimester 2, with formative assessment
taking place throughout the module.
Assessed areas will include:

Timing
Accuracy of execution
Sound production
Fluency
Consistency

Creativity and evidence of wider application
Compulsory or Learning Outcomes

Assessment Description of Assessment compensatable Assessed
No %
Method Method
1 3 4
1 PF Performance 100 X X X
compulsory
*The following codes for assessment methods apply:-

AR artefact OR oral
Indicative list of Resources

Books (electronic resource)
Gallagher, Mitch (2012) Guitar Tone: Pursuing the Ultimate Guitar Sound. Course
Technology/Cengage Learning
Maran, Ruth (2005) Maran Illustrated Guitar. Course Technology/Cengage Learning
Journals (electronic resource)
Guitar Player: New Bay Media LLC. [available via International Index of Music Periodicals
(Jan 1993 Vol. 27, no.1 present, with some exceptions)]
Guitarist: Future Publishing Ltd. (small selection of articles available via Rocks Backpages)
Guitar World: New Bay Media LLC. [small selection of articles available via Rocks
Backpages]
Total Guitar: Future Publishing Ltd. [small selection of articles available via Rocks
Backpages]
Further reading (unavailable in electronic form)
Calva, R. (2003) Blues/Rock Soloing For Guitar: A Guide to the Essential Scales, Licks and
Soloing Techniques. Musicians Institute.
Capone, Phil (2009) 100 Killer Licks and Chops For Blues Guitar. Chartwell Books, Inc
Cooley, Rusty (2013) Rusty Cooleys Fretboard Autopsy: Scales, Modes & Melodic Patterns.
Rock House.
Dupree, C. (2009) Rhythm and Blues Guitar. Hal Leonard.
Ganapes, J. (2000) Blues Licks You Can Use: Tips for performance. Hal Leonard
Hill, D. (2011) The Guitar Lick-tionary Pub. Musicians Institute.
Leonard, Hal (2000) Blues Guitar Bible. Hal Leonard.
McGill, T.S. (2007) The Guitar Arpeggio Compendium Marlton. Uniblab Publishing.
Morenga, M. (2006) Guitar Springboard: Chords For All Occasions. Wise Publications.
Nolan, N. & Gill, D. (1999) Rock Lead Performance: Techniques, Scales and Soloing

Techniques. Musicians Institute.
Wine, T. (2003) 1001 Blues Licks. Hal Leonard Corporation.
Section 4 Administrative Information
Subject Music
Course BA(Hons) Creative Music Performance
Department AMATA
Version 1
Date of production of MIF

30/01/2014
(dd/mm/yyyy)
Named Awards Indicate below all Awards where this is a compulsory or option Module (*delete as
appropriate)
BA(Hons) Creative Music Performance Compulsory

Module Name Improvisation

eg Level 4, Stage 1
inserted later
Online
Trimester 1 & 2
Peer online chat (15 hours)
The Improvisation module aims to equip you with musical

improvisational skills and methodologies ultimately designed to
enable innovative musical expression in your specialist area. The
skills and vocabulary learned in these lectures are fundamental
and will be applied and contextualised within performance
scenarios throughout the course.
In addition to learning the specific content throughout the module,

you will be encouraged to develop your own learning
Summary Module Description methodologies for the purpose of enhancing your technical
(100 150 words)
abilities, understanding how these skills apply into a broader
musical context and developing an individual approach to your
area of specialism.
Throughout the module, you will be expected to develop a

strategic approach for learning the requisite content that employs
effective time management. Lecture content will be supported
with tutorials, group sessions and masterclass performances.
Develop instrumental techniques that will enable

Aims improvisational skills
Maximum of 3
Understand how improvisational techniques are used
in a musical context
Understand harmonic and rhythmic concepts related
to improvisation

Assessment Criteria
should be able to:
Demonstrate an understanding of Present and perform a range of specialised
2 improvisation in performance improvisational techniques
(Creative Music Performance LO 2)
Display elements of creativity and Perform improvisational concepts with a measure of
3 personal expression in improvisation expression and creativity
Demonstrate an awareness of the broader Evidence the use of improvisational concepts in a
musical context of concepts and theory wider musical context
4
related to improvisation

Intellectual Skills
specific vocabulary and apply improvisational concepts.
Transferable Skills
The learner will have the opportunity to develop a strategic
approach to their area of specialism and will employ effective
time management skills in the planning, practice and
performance)

demonstrating a range of improvisational techniques that
embodies the lecture content for the module. You are
encouraged to present the content in a creative manner,
demonstrating an understanding of how to apply the material
into a broader musical context.

Assessment Strategy statement explaining the concept(s) being covered and the

Timing
Sound production
Fluency
Consistency

compulsory or Learning Outcomes
No %
Method Method
2 3 4
X X X
1 PF Performance 100 compulsory

AR artefact OR oral
Books (electronic resources)
Journals (electronic resources)
Backpages]
Backpages]
Ganapes, J. 2000. Blues Licks You Can Use: Tips for performance. Hal Leonard
Goodrick, M with Metheny, P, (1998) Advancing Guitarist - Applying Guitar Concepts and
Techniques. Milwaukee. Hal Leonard Publications.
McGill, T.S. (2007) The Guitar Arpeggio Compendium Marlton. Uniblab
Publishing.

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Artist Studies

eg Level 4, Stage 1
inserted later
Online
Trimester 1 & 2
The Artist Studies module provides you with the opportunity to

study the techniques, methodologies and repertoire of iconic
artists as acknowledged within their specialist area. The concepts
examined in this module are intended to support you in the
development of your own individual approach and should ideally
be applied into a broader musical context throughout the course.
Summary Module Description In addition to learning a representative portion of their repertoire,

(100 150 words) you will be asked to provide critical analysis of your chosen artists
that demonstrates a contextual understanding of the historical,
social and cultural factors that shaped their unique sound and
style. Your Module Leader or Lecturer must approve all choices of
artists and repertoire.
You will be expected to develop a strategic approach for doing the

practice and research required that employs effective time
management. The module is predominantly self-directed study,
and lectures will be supported with tutorials and group sessions.
Identify and demonstrate the conventions and

vocabulary of your instrument as defined by influential
artists
Aims Use relevant techniques and methods to explain the
Maximum of 3
reciprocity between culture and music
Generate ideas and construct arguments that show
understanding of the key elements of an artists
unique musical style

Assessment Criteria
should be able to:
Identify and evidence techniques and Perform repertoire that demonstrates an
methodologies associated with relevant understanding of the techniques associated with
1
artists music making of iconic artists
Demonstrate a knowledge and Perform repertoire that demonstrates a specific
understanding of the stylistic elements of stylistic knowledge of an iconic artist
4
relevant artists
Display an awareness of music studied in Provide a study of an iconic artist that examines
the wider context of historical, cultural and their work in the context of historical, social and
5
social practices cultural factors

Understanding of the vocabulary and conventions of the
instrument and of the demands of presenting this work in
performance.
Knowledge of the social, historical and culture factors that can
influence performance outcomes.
Skills Development Intellectual Skills
The ability to undertake critical and contextual research.
Practical Skills
The learner will demonstrate the ability to perform chosen
repertoire that embodies a specific sound and style
Transferable Skills
The learner will have the opportunity to develop effective time
management skills, research based skills and self-directed
working
performance and accompanying essay)
The achievement of learning outcomes is assessed in two

ways:
1. Submission of an 8-10 minute filmed performance

demonstrating an approved repertoire that embodies the key
elements of an iconic artists performance style.
Assessment Strategy
2. The submission of an essay identifying and analysing the
key elements of a chosen artists performance style and how
historical, cultural and social factors influenced their work. The
essay should contain arguments and ideas that are informed
and supported by relevant research. (1000 words)
Summative assessment will occur at the end of Trimester 2,

with formative assessment taking place throughout the module.

No %
Method Method
1 4 5
1 PF Performance 50 compulsory X X
2 ES Essay 50 compulsory X

AR artefact OR oral

Crazy Horse, Kandida, (ed.) (2003) Rip It Up: The Black Experience in Rock n Roll. Palgrave
MacMillan
Thompson, Gordon Ross (2008) Please Please Me: Change and Sixties British Pop. Oxford
University Press
Walser, Robert (1993) Running with the Devil: Power, Gender and Madness in Heavy Metal
Music. Wesleyan
Backpages]
Backpages]
Clapton, Eric (2008) Eric Clapton The Autobiography. Arrow Books

Mairants, Ivor (2010) The Great Jazz Guitarists. SMT
Smeaton, Bob (2013) Jimi Hendrix Hear My Train AComin. BBC (DVD)
Tolinski, Brad (2012) Light and Shade Conversations With Jimmy Page. Virgin Books
Trovato, S. (2008) Three Kings of Blues. Lick Library (DVD)

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Rhythm Studies

eg Level 4, Stage 1
inserted later
Compulsory or option Compulsory
Online
Trimester 1 & 2
Peer chat online (15 hours)
The Rhythm Studies module provides you with the opportunity to

study a wide variety of rhythmic concepts across a range of
musical genres. The concepts examined in this module are
intended to support the development of your individual practice
and will be applicable into the broader contexts of your course.
In addition to identifying, applying and performing rhythmic

concepts, you will be asked to provide critical reflection on your
Summary Module Description own abilities and how the concepts studied may inform your
(100 150 words) thinking around professional practice.

management. The module is a mixture of directed and self-
directed study, and lectures will be supported with tutorials and
group sessions.
Develop competence in performance skills relating to

Aims the rhythmic elements of composition.
Maximum of 3 Identify and demonstrate the conventions and
vocabulary of your instrument in various musical
contexts

Assessment Criteria
should be able to:
Demonstrate a proficient approach to Perform musical examples with a secure
1 rhythmic concepts on instrument or voice understanding of rhythmic elements
Demonstrate a wide variety of rhythms on Evidence a measure of creativity and expression in
instrument or voice with creativity and the performance of rhythmic concepts in varying
3
expression genres
Evidence and articulate rhythmic concepts Identify and describe how rhythmic concepts are
4,
in varying musical genres developed and contextualised in a wider musical
7
(Creative Music Performance LO 4, 7) context

Understanding elements of musical notation and of the
challenges of applying it in performance.
Knowledge of various rhythmic sub-division
Intellectual Skills
The ability to reflect on your own practice and make informed
Skills Development comments and conclusions.
Practical Skills
The learner will demonstrate the ability to perform a wide
variety of rhythmic subdivision in a musical context
Transferable Skills
management skills, reflective practice and self-directed
working

ways:
1. Submission of a 5-10 minute filmed performance

demonstrating rhythmic concepts applied into a wider musical
context.
Assessment Strategy
2. The submission of a reflective essay describing the
development of the concepts studied and their integration into
a wider musical context (750-1000 words)


compulsory or Learning
Assessment Description of Assessment compensatable Outcomes
No % Assessed
Method Method
1 3 4 7
1 PF Practical Performance 50 compulsory X X
2 ES Essay 50 compulsory X X

AR artefact OR oral
Backpages]
Backpages]
Bellson, L. (2000) Modern Reading Text in 4/4. Belwin Mills Publishing Corp.
Bergonzi, Jerry (1998) Inside Improvisation Series for all Instruments: Vol 4. Melodic Rhythms.
Advance Music.
Buckingham, Bruce.(1998) Rhythm Guitar: The Complete Guide. Hal Leonard.
Fox, Dan (2002) The Rhythm Bible. Alfred Music

nd
Magadini, P, (1993) Polyrhythms The Musicians Guide. 2 Edn. Hal Leonard Corpoation.
Nelson, Troy (2014) Rhythm Guitar 365: Daily Exercises for Developing, Improving and
Maintaining Rhythm Guitar Technique. Hal Leonard.

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Practice Planning

eg Level 4, Stage 1
inserted later
Online
Trimester 1 & 2
Groups seminars/individual tutorials (10 hours)
The Practice Planning module provides you with the opportunity

to formulate and implement a strategic approach towards the
development of your area of specialism. The use of effective time
management, goal-setting and reflective thinking in this module
will enable you to form clear and effective practice methodologies
in the development of your own individual approach.
In addition to the construction of a coherent practice strategy, you

Summary Module Description will be asked to provide critical analysis of your own abilities as
(100 150 words) compared to industry professionals and how the concepts you
have studied will be applied into the wider musical context of your
performances and other musical endeavours.
You will be expected to identify SMART goals, reflect on progress

and include all future recommendations in a clear and coherent
manner. The module is predominantly self-directed study, and
signpost lectures will be supported with tutorials and group
sessions.
Identify goals, methodologies and processes in your

Aims practice and form coherent strategies for
Maximum of 3
improvement
Document activities, form conclusions and make
recommendations pertaining to the efficacy of
strategies employed

Assessment Criteria
should be able to:
Identify goals and an effective strategy for Provide a statement defining goals and strategies in
4 self-improvement on your instrument the development of instrumental skills
Document progress towards defined goals Provide a practice diary commenting on the
7 with commentary on the process strategies used to develop a chosen specialism
Assess progress and make Provide a reflective commentary on the efficacy of
recommendations regarding the strategies used to develop a chosen specialism
8
achievement of goals for self-improvement

Understanding elements of effective strategising
Knowledge of specialist techniques and skills essential to
professional working
Intellectual Skills
Practical Skills
The learner will demonstrate the ability to write in a clear and
coherent manner, intelligible to expert and non-expert
audiences
Transferable Skills
The learner will develop effective time management skills, goal
setting, reflective practice and self-directed working
Summative assessment (Submission of a reflective
practice strategy 1500 words)
The achievement of learning outcomes is assessed through

the submission of a reflective practice strategy. The strategy
must contain the following elements:
1. A short written statement summarising your current level of
ability in your chosen specialism as measured against
industry professionals and your goals for improvement by
the end of the period and beyond (200 words)
2. A typical daily practice routine, including warm up (100
Assessment Strategy words)
3. A practice diary over a 20 week period (minimum) covering
the time practiced, progress towards goals, peer/tutor
feedback and other relevant information regarding skill
development (1000 words)
4. A brief conclusion discussing the effectiveness of your
practice regime and its strengths and weaknesses (200
words)

with signpost lectures and tutorial support taking place
throughout the module.

compulsory or Learning Outcome
Assessment Description of Assessment compensatable assessed
No %
Method Method
4 7 8
1 OT Practice Diary 100 compulsory X X X

AR artefact OR oral

Web articles
Kolb theories: <http://www.simplypsychology.org/learning-kolb.html>

John Pretrucci workout: <http://www.guitarworld.com/john-petrucci-practice-tips-part-1>
Steve Vai 10-hour workout:
<http://picksnlicks.com/Guitar%20Lessons/Exercises/30_hr_workout/30_hr_workout_1.html>
SWOT analysis: <http://www.mindtools.com/pages/article/newTMC_05.htm >
SMART analysis: <http://www.marketingteacher.com/lesson-store/lesson- objectives.html>
http://www.bulletproofmusician.com/how-many-hours-a-day-should-you-practice/
http://themusiciansblog.wordpress.com/2010/02/28/12-tips-for-practicing-music/
http://lifehacker.com/5939374/a-better-way-to-practice
Abair, M (2011) How to Play Madison Square Garden. Not more Saxophone Music, Ink.
Green, B (1986) The Inner Game of Music. Doubleday
Kickstein, G (2009) The Musicians Way: A Guide to Practice, Performance and Wellness.
Oxford University Press. Conzemius, A.
ONeill, J. (2005) The Power of SMART Goals: Using Goals to Improve Student Learning.
Solution Tree.
Rodgers, N (2012) Le Freak: An Upside Down Story of Family, Disco and Destiny. Sphere
Wooten, Victor (2008) The Music Lesson: A Spiritual Search for Growth Through Music.
Berkley Trade
NB The websites listed above were live at the time of writing. If any of them are unavailable you can
find alternatives via your search engine.

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)
BA(Hons) Creative Music Performance compulsory

Module Name Advanced Techniques

eg Level 4, Stage 1
inserted later
Online
Trimester 3 & 4
The Advanced Techniques module builds on the study of the

specialist skills covered in the Technical Development module in
Trimesters 1 and 2. The techniques learned in these lectures are
an extension of those previously studied and are designed to
consolidate and expand your existing vocabulary on the
instrument. In general, there will be greater emphasis on the
application of the skills learned into a broader musical context in
preparation for the next level of study.
Summary Module Description In addition to learning the specific content throughout the module,
(100 150 words) you will be encouraged to develop your own learning
methodologies for the purpose of enhancing your technical
developing a unique approach to your area of specialism.

Build upon previous learning to develop a higher level
Aims of technical competence on your instrument
Maximum of 3 Present an analysis of the conventions and
vocabulary of the instrument
Apply the conventions and vocabulary of the
instrument into a wider musical context

Assessment Criteria
should be able to:
Demonstrate a secure and fluent technical Perform specialised technical exercises and
1 foundation in the chosen discipline concepts with a secure and fluent execution
Display creativity, imagination and Perform instrument-specific vocabulary and
personal expression in musical evidence creativity, imagination and personal
3
performance expression
Evidence an analytical knowledge of how Perform and apply instrument specific techniques
instrument-specific techniques are applied into a wider musical context with interpretive insight
4
to a wider musical context

Intellectual Skills
Skills Development specialist content of the module.
Practical Skills
specific vocabulary to a high standard.
Transferable Skills
performance)

of how to apply the material into a broader musical context.
Assessment Strategy Each example must be clearly introduced, with a brief
statement explaining the concept(s) being covered and the

Timing
Sound production

Fluency
Consistency

No %
Method Method
1 3 4
1 Pf Performance 100 compulsory X X X

AR artefact OR oral

Web articles

Backpages]
Backpages]
DVDs
Gottardo, D. (2009) Superfingering. Hudson Music

Johnson, S. (2005) Accelerate Your Rock Guitar Playing. Hudson Music
Shun, K. (2001) Lick Samples: Chicago Blues Guitar. Hudson Music
Suggested supporting Texts (unavailable in electronic form)
Cooley, Rusty (2013). Rusty Cooleys Fretboard Autopsy: Scales, Modes & Melodic Patterns.
Rock House.
Goodrick, M with Metheny, P (1998) Advancing Guitarist - Applying Guitar Concepts and
Techniques. Milwaukee: Hal Leonard Publications.
Govan, G. (2003) Creative Guitar Books 1, 2 & 3. Sanctuary Publishing.

Kickstein, G (2009) The Musicians Way: A Guide to Practice, Performance and Wellness.
Oxford University Press.
Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Advanced Improvisation

eg Level 4, Stage 1
inserted later
Online
Trimester 3 & 4
The Advanced Improvisation module builds on the work done in

Trimester 1 & 2 and continues with the study of improvisational
skills and methodologies that are ultimately designed to enable
creative musical expression in your specialist area. The skills and
vocabulary learned in these lectures will be applied and
contextualised within performance scenarios at the next level of
study.
Summary Module Description In addition to learning the specific content throughout the module,
(100 150 words) you will be encouraged to develop your own learning
methodologies for the purpose of enhancing your technical
developing an individual approach to your area of specialism.

Develop instrumental techniques that will enable
advanced improvisational skills
Aims Apply improvisational techniques and concepts into a
Maximum of 3 wider musical context
Analyse and apply harmonic and rhythmic concepts
related to improvisation

Assessment Criteria
should be able to:
Demonstrate a secure and fluent Perform specialised improvisational techniques with
2 approach to improvisational techniques a secure and fluent execution
Display creativity, imagination and Perform improvisational techniques and evidence
personal expression when using creativity, imagination and personal expression
3
improvisation in musical performance
Evidence an analytical knowledge of how Perform and apply improvisational techniques into a
improvisational techniques are applied to wider musical context with interpretive insight
4
a wider musical context

Intellectual Skills
specific vocabulary and apply improvisational concepts to a
high standard.
Transferable Skills
performance)

demonstrating a range of improvisational techniques that
embodies the lecture content for the module. You are
encouraged to present the content in a creative manner,
demonstrating an understanding of how to apply the material
into a broader musical context.
Assessment Strategy

Timing

Sound production
Fluency
Consistency

No %
Method Method
2 3 4
1 PF Performance 100 compulsory X X X

AR artefact OR oral
Backpages]
Backpages]
Green, B. and Gallway, T. (1996) The Inner Game of Music. Doubleday

Bergonzi, Jerry (1992) Inside Improvisation Series for all Instruments: Vol 1. Melodic Structure.
Advance Music.
Bergonzi, Jerry (1994) Inside Improvisation Series for all Instruments: Vol 2. Pentatonics.
Advance Music.
Gilbert, Daniel and Marlis, Beth (2002) Advanced Guitar Soloing. Musicians Institute.
Hill, D. (2011) The Guitar Lick-tionary. Musicians Institute.
Werner, Kenny (1990) Effortless Mastery. Jamey Aebersold Jazz.

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Artist Analysis

eg Level 4, Stage 1
inserted later
Online
Trimester 3 & 4
The Artist Analysis module builds on the work done in Trimesters

1 & 2 and continues to examine the techniques, methodologies
and repertoire of iconic artists as acknowledged within their area
of specialism. The concepts examined in this module are intended
to support you in the development of your own individual
approach and should ideally be applied into a broader musical
context throughout the course.
Summary Module Description In addition to learning a representative portion of their repertoire,
(100 150 words)
you will be asked to provide critical analysis of your chosen artists
that demonstrates a contextual understanding of the historical,
social and cultural factors that shaped their unique sound and
style. You will extend your critical analysis through the inclusion of
musical notation, commenting on how the unique voice of the
artist is evident within the transcription. Your lecturer or Module
Leader must approve all choices of artists and repertoire.
Analyse and apply the conventions and vocabulary of

your instrument as defined by influential artists
Aims
Maximum of 3
Use relevant techniques and methods to explain the
reciprocity between culture and music
Generate ideas and construct arguments that show
detailed analysis of the key elements of an artists
unique musical style

Assessment Criteria
should be able to:
Identify and apply techniques associated Perform repertoire that demonstrates a specific and
1 with relevant artists detailed knowledge of the techniques for music
(Creative Music Performance 1) making associated with iconic artists
Identify and apply the stylistic elements of Perform repertoire that demonstrates a specific and
4 associated with relevant artists detailed stylistic knowledge of an iconic artist
Provide critical analysis of the music Provide a study of an iconic artist that analyses and
studied in the wider context of historical, notates their work in the context of historical, social
5
cultural and social practices and cultural factors

performance.
Knowledge of the social, historical and culture factors that can
influence performance outcomes.
The ability to undertake critical and contextual research.
Practical Skills
Transferable Skills
management skills, research based skills and self directed
working

ways:

demonstrating an approved repertoire that embodies the key
elements of an iconic artists performance style.
Assessment Strategy 2. Submission of an essay (1500 words) identifying and

analysing the key elements of a chosen artists performance
style and how historical, cultural and social factors influenced
their work. The essay should contain arguments and ideas that
are informed and supported by relevant research.


No %
Method Method
1 4 5

AR artefact OR oral

Bennett, Tony (ed.) (1993) Rock and Popular Music: Politics, Policies, Institutions. Routledge
Whitely, Sheila (1992) Space Between The Notes: Rock and the Counter Culture. Routledge
Backpages]
Backpages]
Clapton, Eric (2008) Eric Clapton The Autobiography. Arrow Books

Mairants, Ivor (2010) The Great Jazz Guitarists. SMT
Richards, Keith (2010) Life. Weidenfeld and Nicolson
Smeaton, Bob (2013) Jimi Hendrix Hear My Train AComin (DVD)
Tolinski, Brad (2012) Light and Shade Conversations With Jimmy Page. Virgin Books
Townshend, Pete (2012) Who I Am. Harper

Subject Music
Course Creative Music Performance
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Composition and Arrangement

eg Level 4, Stage 1
inserted later
Online
Trimester 3 & 4
The Composition and Arrangement module provides you with the

opportunity to study and apply methodologies for composing and
arranging original music. The module will support you in
producing original compositions in response to a specified brief.
The concepts examined will provide an integrated understanding

of the broader musical context and will support the development
Summary Module Description of your work throughout the course. In addition to composing,
(100 150 words) arranging and presenting original music, you will be asked to
provide critical analysis of how you applied the concepts studied
throughout the module to your compositions.
You will be expected to develop a strategic approach for doing

required tasks that employs effective time management. The
module is a mixture of directed and self-directed study, and
lectures will be supported with tutorials and group sessions
Develop skills in the areas of musical composition

and apply these skills into your own work
Aims Analyse your practice and provide a rationale for the
Maximum of 3 processes and methodologies employed

Assessment Criteria
should be able to:
Apply composition and arrangement Compose, arrange and present music to a specified
6 techniques in the creation of original music brief
Analyse and explain the techniques Provide a reflective account analysing and
7 utilised in the creation of original music explaining the techniques used in creating original
(Creative Music Performance LO 7) music
Demonstrate project planning in the Evidence a coherent strategy for the creation and
8 creation of original music presentation of original music

Understanding elements of musical composition
Knowledge of various composition and arrangement
techniques
Intellectual Skills
Practical Skills
The learner will demonstrate the ability to compose, arrange
and perform original music
Transferable Skills
management skills, reflective practice and self-directed
working
Summative assessment (Portfolio)
The achievement of learning outcomes is assessed through

the submission of a portfolio containing the following
components:
1. A recording of two complete original compositions. Each

composition must be between 3-5 minutes in length.
Assessment Strategy
2. A critical evaluation describing both compositions and the
methodology and rationale behind their construction and
arrangement (1500 words)

Assessment Description of Assessment compulsory or LO assessed

No % compensatable
Method Method 6 7 8
1 PO Portfolio 100 compulsory X X X

AR artefact OR oral
Web articles
22 Essential Arranging Tips (2008) (Music Radar)

<http://www.musicradar.com/tuition/tech/22-essential-arranging-tips-133898>
Making Arrangements A Rough Guide to Song Construction & Arrangement (1997)
(Sound On Sound) <http://www.soundonsound.com/sos/1997_articles/oct97/arranging1.html>
In the Studio: Song Arrangement 101 (2011) (ProSoundWeb)
<http://www.prosoundweb.com/article/print/in_the_studio_song_arrangement_101>
American Songwriter [one (1) article available via Rocks Backpages]

Performing Songwriter [small selection of back-copies available via Rocks Backpages]
Popular Music [available via Cambridge University Press Current Complete (from 1980
present)]
Further reading (not available electronically)

Gorow, Ron (2002) Hearing and Writing Music. 2 Edition. September Publishing
nd
Miller, Michael (2005) The Complete Idiots Guide to Music Composition. Penguin Books
Scott, Richard J. (2003) Chord Progressions For Songwriters. Writers Club Press
Smith Brindle, Reginald (1986) Music Composition. Oxford University Press
Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)

appropriate)

Module Name Developing Your Own Style

eg Level 4, Stage 1
inserted later
Online
Trimester 5
Forums/online peer chat/master-classes (10 hours)
Developing Your Own Style provides you with the opportunity to

amalgamate the concepts studied throughout the course and
apply this knowledge towards the development of your own sound
and style. You must apply a critical approach to your
developmental process and be able to explain and demonstrate
your unique approach to your area of specialism.
In addition to demonstrating repertoire that embodies your

Summary Module Description individual style, you will be asked to provide a critical analysis of
(100 150 words)
your work that discusses your developmental journey, current
practice and aspirational goals for the future.

Evaluate the conventions and vocabulary of your

instrument and apply them in an appropriate musical
Aims context
Maximum of 3 Synthesise musical elements to develop authoritative
musicianship as demonstrated by industry
professionals
Construct a rationale for the synthesis of musical
concepts and techniques in the formation of an
individual sound and performance style

Assessment Criteria
should be able to:
Demonstrate authoritative technical and Perform repertoire that evidences the synthesis of
musical skills as typified by industry technique and musical skills to a professional
1 professionals within your chosen standard
discipline
Evidence an individual voice in music Perform repertoire that demonstrates an individual
performance through a broad range of musical voice through the use of deep interpretive
3 personal expression, deep interpretive insight, originality and personal expression
insight and originality
Demonstrate clear and coherent Provide an essay containing critical reflection of
connections between theory and practice your own work and the synthesis of relevant
in music through the synthesis of a broad- techniques, skills and knowledge to create an
4
based body of knowledge relevant to the individual sound and style
discipline

performance.
Knowledge of the relationship between theory and practice that
can influence performance outcomes.
Intellectual Skills
Skills Development The ability to undertake critical and contextual research.
Practical Skills
Transferable Skills
management skills, research based skills and self-directed
working

ways:

demonstrating an approved repertoire that embodies your
Assessment Strategy unique performance style.
2. Submission of an essay (2500 words) identifying and

analysing the key elements of your own performance style.
The key points of the essay should link back to the filmed
performance where relevant.


Assessment Description of Assessment compulsory or Learning Outcomes Assessed
No % compensatable
Method Method 1 3 4

AR artefact OR oral

Backpages]
Backpages]
Govan, Guthrie (2003) Creative Guitar 1: Cutting Edge Techniques. Sanctuary Publishing
Wine, T. (2003) 1001 Blues Licks. Hal Leonard Corporation

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Applied Techniques

eg Level 4, Stage 1
inserted later
Online
Trimester 5
Forums/peer chat online/master-classes (10 hours)
The Applied Techniques module builds on the learning from

previous modules and aims to further equip you with specialist
skills, techniques and methodologies to incorporate into your
creative practice. In addition to consolidating technical skills, the
module will continue to explore improvisation and its
contextualisation into various musical genres. The concepts
Summary Module Description learned in this module will support and build towards the Solo
(100 150 words)
Performance module in Trimester 6.
You will be encouraged to develop and extend your own learning

methodologies to enhance your technical abilities and synthesise
the development of skills into a broader musical context.
Expand your technical proficiency and musical

expression on the instrument
Generate performance through the synthesis of

Aims various conventions and vocabularies related to your
Maximum of 3 practice
Evaluate the techniques and concepts explored and

apply these to various genres

Assessment Criteria
should be able to:
Synthesise instrument-specific techniques Perform musical examples that synthesise a variety
and apply them to performance with of techniques with a secure level of accuracy and
1
accuracy and control control
Display advanced improvisational skills Demonstrate advanced improvisational skills in a
2 appropriate to the chosen genre considered and contextually appropriate manner in
(Creative Music Performance LO 2) a range of genres
Demonstrate deep levels of interpretive Perform musical repertoire that demonstrates deep
insight and creativity in musical levels of interpretive insight and creativity
3
performance
Evidence the synthesis of technical and Perform musical examples that synthesise technical
4 improvisational concepts in performance and improvisational concepts within a wider musical
(Creative Music Performance LO 4) context

The learner will gain a deep understanding of the vocabulary
and conventions of the instrument through the module content.
Intellectual Skills
Practical Skills
Skills Development The learner will develop the ability to perform instrument
specific vocabulary to a standard typified by professional
players.
Transferable Skills
The learner will have the opportunity to evaluate and
synthesise instrument specific techniques in developing a
strategic and innovative, employing effective time management
skills in the planning, practice and preparation for the
assessment.
performance)

Assessment Strategy of how to apply the material into a broader musical context.


Timing
Sound production
Fluency
Consistency

No % compensatable
Method Method 1 2 3 4
1 PF Performance 100 compulsory X X X X

AR artefact OR oral

Backpages]
Backpages]
Cooley, Rusty (2013). Rusty Cooleys Fretboard Autopsy: Scales, Modes & Melodic Patterns.
Rock House.
Goodrick, M with Metheny, P. (1998). Advancing Guitarist - Applying Guitar Concepts and
Techniques. Milwaukee. Hal Leonard Publications.
Govan, G. (2003). Creative Guitar Books 1, 2 & 3. Sanctuary Publishing.
Leonard, Hal (2000) Blues Guitar Bible. Hal Leonard.
Wine, T. (2003) 1001 Blues Licks. Hal Leonard Corporation.

DVDs (recommended)
Hot Licks: Learn Rockabilly Guitar with 6 Great Masters! Music Sales America.
Hot Licks: Learn Heavy Metal Guitar with 6 Great Masters! Music Sales America.
Hot Licks: Learn Southern Rock Guitar with 6 Great Masters! Music Sales America.
Hot Licks: Nils Lofgren Electric & Acoustic Guitar. Music Sales America
Liquid Legato: Develop Fluid Lead Lines with Hammer-ons, Pull-offs and Slides. Musicians
Institute Press.
Tremonti, Mark, The Sound and the Story. All-Access Guitar Instruction.
Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Solo Performance

eg Level 4, Stage 1
inserted later
Online
Trimester 6
Peer chat online (20 hours)
Solo Performance asks you to demonstrate the totality of your

skills and knowledge on your instrument in a performance setting.
You must assume responsibility for all musical and administrative
aspects of your performance, such as the selection of repertoire,
any additional musicians and choice of venue.
You should demonstrate repertoire that showcases the skills,

techniques and improvisational concepts studied, embodying your
own unique style. Additionally, a reflective account that covers the
Summary Module Description process of organising the performance, the rationale for repertoire
(100 150 words)
chosen and a post mortem of the performance itself must be
submitted as part of the module assessment.


Evidence competent and credible musicianship as
typified by industry professionals
Aims Define and demonstrate at an appropriate level, the
Maximum of 3 conventions and vocabulary of your instrument
Evaluate the processes and methodologies applied in
your practice and assess how these were applied in
performance

Assessment Criteria
should be able to:
Synthesise instrument specific technical Perform repertoire that synthesises technical and
and musical skills in the context of musical skills with fluency and control
1 performance repertoire with fluency and
control
Evidence advanced improvisational skills Perform repertoire that demonstrates an assured
appropriate to the chosen genre with and musical integration of advanced improvisational
2
assurance and musicality skills as appropriate for the genre
Demonstrate a distinct musical voice Perform repertoire that demonstrates a distinct
through interpretive insight, personal musical voice through interpretive insight, personal
3 expression and creativity in the expression and creativity in your discipline
performance of musical repertoire
Evaluate and apply a broad-based body of Provide a rationale for the selection of performance
musical knowledge and skills in the repertoire and its relevance to your own musical
4 planning and execution of a live voice
performance
Reflect critically on the processes and Identify and evaluate the processes and logistics
planning required to organise a live music required to plan and organise a solo performance
8
performance

instrument and of the demands of presenting work in
performance.
Knowledge of the technological factors that can influence
performance outcomes.
The ability to undertake critically reflect on the process related
to the performance
Practical Skills
repertoire that embodies an individual sound and style
Transferable Skills
The learner will have the opportunity to develop effective skills
regarding time management, planning and organisation

Assessment Strategy ways:
1. Submission of a 30-40 minute filmed performance that

demonstrates repertoire embodying your unique performance
style.

2. Submission of an essay (3,000) reflecting on the process of
staging the performance and critical analysis of your own
performance. The key points of the essay should link back to
the filmed performance where relevant.


No % compensatable
Method Method 1 2 3 4 8
1 PF Performance 70 compulsory X X X
2 ES Essay 30 compulsory X X

AR artefact OR oral

Counsel, C. and Wolf, L. (2001) Performance Analysis: An Introductory Coursebook.

Routledge.
Web articles

http://www.bulletproofmusician.com/how-many-hours-a-day-should-you-practice/
http://themusiciansblog.wordpress.com/2010/02/28/12-tips-for-practicing-music/
http://lifehacker.com/5939374/a-better-way-to-practice
Campbell, P. (ed.) (1996) Analysing Performance: A Critical Reader. Manchester Univ.Press

Davidson, J. (2004) The Music Practitioner. Ashgate.
Evans, A. (2003) Secrets of Performing Confidence. A&C Black
Werner, Kenny (1996) Effortless Mastery: Liberating the Musicians Within. Jamey Aebershold,
Inc

Subject Music
Department AMATA
Version 1

30/01/2014
(dd/mm/yyyy)
appropriate)

Module Name Professional Practice Portfolio

Module Code DIMEO-035
eg Level 4, Stage 1
inserted later
Online
Trimester 6
Mode(s) of Delivery 12 hours of signpost lectures (6 x 2.0 hours)
Forums/peer chat online/seminars (20 hours)
The Professional Practice Portfolio module requires you to

research and report on the full spectrum of career opportunities
available within your specialist area. In addition to identifying
various career pathways, you should also comment on how your
craft can be contextualised into professional opportunities that
will, if desired, monetise your skills and inspire entrepreneurial
practice and artistic excellence. Additionally, you will be asked to
have other components in your Portfolio that are intended to
facilitate your career. These items include:
Personal website (supporting your professional work)

Various forms of social media (as above)
Summary Module Description
(100 150 words)
You should utilise a research-based approach (clearly
demonstrated through referenced sources) to identify career and/
or artist opportunities related to your specialist area, and support
findings by examining the work of recognised leaders in their field.
The report should examine current ways of working for the self-
employed music professional, including entrepreneurial practice,
marketing, self-promotion and multiple income streams.
You will be required to present a persuasive argument showing

how your aims are realistic and achievable and this should be
backed up by credible research data and analysis. Where
possible, the additional components of your portfolio should align
with your report on career opportunities and pathways.
You will be expected to develop a strategic approach for

managing the process of creating the portfolio that employs

effective time management, research skills and the ability to
reflect and comment critically. Lecture content will be supported
with tutorials and group seminars.
Generate ideas and construct arguments in both

verbal and written form and to evaluate such ideas
Aims and arguments critically.
Maximum of 3
Apply research-based knowledge in a practical and
discriminating way, classifying significant data, and
applying this learning in the design of realistic and
achievable career planning strategy.
LO Assessment Criteria
To achieve the learning outcome you must
should be able to:
Apply a research-based approach in the Identify and define employment opportunities
identification of relevant employment within your specialist area
opportunities within the music industry
(Artist Management LO 8, 9; Creative Formulate a personal career plan that incorporates
1 Songwriting LO 8, 9; Creative Music and synthesises relevant data and specialist
Performance LO 7, 8) knowledge
Create a personal website and exploit current and

relevant forms of social media for professional use
Evaluate the range of career opportunities Identify and evaluate industry employment
relevant to your own personal situation, opportunities relevant to a bespoke career plan
assessing the strengths and weaknesses
2 of each Justify and defend personal career choices and
(Artist Management LO 8, 9; Creative illustrate how objectives are realistic and
Songwriting LO 8, 9; Creative Music obtainable
Performance LO 7, 8)

Understanding of entrepreneurial practice in the relevant
specialism
Knowledge of career opportunities and best practice
Intellectual Skills
Skills Development Develop cognitive and analytical skills applicable to the
formation of career pathways
Practical Skills
Construct a written dissertation intelligible to expert and non-
expert audiences
Transferable Skills
Time management

Research techniques
Critical thinking
Summative assessment (Professional Portfolio)
You will be asked to submit a professional portfolio containing

elements relevant to your career pathway and current working
activities. The portfolio must contain a career research report
of 2,500 words outlining a considered and appropriate range of
career opportunities linked to your specialist area and a
strategy for the development your own professional practice.
You should use a research-based approach that features clear
referencing and which supports all assertions, arguments and
conclusions raised in the report.
The report will be based on a research theme or question

that addresses critical issues related to career development
and artistic opportunities linked to your specialist field. This
must be capable of being investigated within the allocated time
frame. The report must follow appropriate academic protocol as
regards the referencing of sources and the development of a
supported, critically accountable and contextually astute
argument. The report should be an empirical investigation
Assessment Strategy
that uses primary and secondary data and research material
gathered through appropriate methods and from credible
sources within the wider field of inquiry.
You will identify and organise your research showing how this
is relevant to your engagement with your question. Through
analysis you will draw informed conclusions about the creative
commercial opportunity available to you, and present a
defendable argument to support your position.
You will be asked to support the career research report with the
inclusion of a personal website and various forms of social
media, both of which should have strictly professional
objectives. The website should include items such as current
photos, embedded video and/or audio, a current biography,
details of the service(s) you provide, discography (as relevant),
news and other information relevant to your professional status.
Your social media should feature aspects of your professional
work and clear signs of promotional use.
compulsory or Learning
Assessment Description of Assessment compensatable Outcome
No % Assessed
Method Method
1 2
1 PO Portfolio 100 compulsory X X

AR artefact OR oral

Bell, Judith (1987) Doing Your Research Project. Open University Press.
Levin, Peter (2004) Write Great Essays!: a Guide to Reading and Essay Writing for
Undergraduates and Taught Postgraduates. Maidenhead: Open University Press.
McMillan, Kathleen (2007) How to Write Essays and Assignments. Harlow: Pearson/Prentice
Hall.
Web articles
(2011) Writing a Dissertation. (University of Leceister AccessAbility Centre)

<http://www.youtube.com/watch?v=1hVNF_8S6Ok>
Klein, Stella (2013) How to Plan Your Dissertation. (The Guardian)
<http://www.theguardian.com/education/2013/mar/21/how-to-plan-your-dissertation>
Klein, Stella (2013) How to Write Your Dissertation. (The Guardian)
<http://www.theguardian.com/education/2013/mar/25/how-to-write-your-dissertation>

Creswell, John. 2013. Research Design: Qualitative, Quantitative, and Mixed Methods
Approaches. SAGE.
Thomas, Gary. 2013. How To Do Your Research Project. Sage.
Subject Music
Music Entrepreneurship/Creative Songwriting/Creative

Course
Music Performance
Department AMATA
Version 2

30/01/2014
(dd/mm/yyyy)

appropriate)
BA(Hons) Music Entrepreneurship Compulsory
BA(Hons) Creative Songwriting Compulsory

15 Bahons CMP

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AWARD DOCUMENT 2014/2015

VERSION 2 - 01 JULY 2015 BAEMUCMPPO

VERSION PURPOSE/CHANGE AUTHOR DATE

Stage 1 (Level 4) Stage 2 (Level 5)

DIMEO-P140 Rhythm Studies DIMEO-P240 Composition and

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Please refer to the Guidance notes on completing Award

SECTION 1 - General Award Information

Qualification (award type) BA(Hons)

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For entry to Year 1 of an undergraduate degree

Level 3 qualifications A levels (however not AS or A1 levels

14-19 Advanced Diploma* (see below)

International, French, European or

Irish Leaving Certificate

Other appropriate qualifications

*14-19 Advanced Diploma

Of the subjects currently available through the

For entry to Year 2 or 3 of an undergraduate degree

Level 5 qualifications Foundation Degree

If you hold one of the following Level 5

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For more information on the National Qualifications Framework, please go to

DIME Online Admissions Policy

The aims of this Admissions Policy are to ensure that:

Entry criteria is transparent and justifiable

Applicants to DIME Online are treated fairly

Applications are responded to promptly and efficiently

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Conduct regular reviews of all recruitment and admissions procedures

Pre-application information is available from the website, in prospectuses, leaflets or brochures

Course details including; details of indicative curriculum

Accreditation/approval of courses by professional bodies or Partner Colleges and

The course structures, duration, mode of attendance and qualification title

Range of resources available at DIME Online

Range of teaching staff in each specialist department

Details of all senior staff at DIME Online

Information on recent DIME Online guests and events

Information on fees and payment arrangements

Sources of financial assistance (internal and external), including scholarships and

Information on library and learning resources

At Initial Assessment / Audition

Relevant information will be made available to applicants prior to their assessment

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Students With Disabilities

Accreditation of Prior Learning APL & APEL

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Continual Academic Support

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Support Times and Availability

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Below are the recommendations for computer specifications:

Computer Speed & Processor

Making Canvas Personal

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For more information on the Announcements page please visit:

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Career/further study opportunities

Further career opportunities/destinations may include:

Solo or ensemble/group performer

Further study opportunities include:

Postgraduate Diploma or Master of Arts