Arts, Design and Media Birmingham Conservatoire Bmus (Hons)

Arts, Design and Media
Birmingham Conservatoire
BMus (Hons)
Performance, Composition and Music
Technology
Course Guide Volume 2
Year 4 modules 2014-15
Contents
Module Title: Final Recital (45) .......................................................................................... 2
Module Title: Final Recital (30) .......................................................................................... 7
Module Title: Final Recital (60) ........................................................................................ 11
Module Title: Final Composition Portfolio (45) ................................................................. 15
Module Title: Final Music Technology Portfolio (45)......................................................... 29
Module Title: Final Project (45) ........................................................................................ 43
Module Title: Contextual Studies Project (30) .................................................................. 59
Module Title: Contextual Studies Project (15) .................................................................. 64
Module Title: Further Specialism ..................................................................................... 72
Module Title: Further Pedagogy....................................................................................... 79
Module Title: Professional Development Project .............................................................. 85
For each module in this handbook, you will find a description of the module aims,
delivery, learning outcomes, assessment, resit arrangements and assessment criteria
as well as other information. These are the official documents governing what you are
taught and how you are assessed. There are more ‘user friendly’ guides in volume
one of your handbook; and both information and learning resources in the module
Moodle areas at: http://moodle.bcu.ac.uk/
1
University Standard Module Template
Faculty: PME School/Department: Conservatoire
Module Title: Final Recital (45)

Programme(s) on which the module is delivered: BMus (Hons) Performance
Date of publication of template to students:
Module Code: MUS6017 Level 6
Where necessary, agreed abbreviated

module title for the SRS (maximum 3
alpha characters e.g. EDU for Education;
JEW for Jewellery)
Credit value: 45
ECTS Credit value: 22.5
Module Leader: Paul Bamborough
Module start date(s) during the current academic year: September 29
Module finish date(s) during the current academic year: June 5
Assessment weightings:
Recital 100%
For SRS Team Use Only:

Created By:
Date:
BMus (Hons) 4 Modules2

Relationship with Programme Philosophy and Aims
This module provides a climax to the performing student’s first study learning experience
and lies at the heart of the course. It represents the culmination of work done in the suite of
first-study modules undertaken in each of the first three years, leading eventually to the
Final Recital in the fourth year, thus contributing directly to their preparation for the
profession [aim 1]. While the technical demands of the repertoire at this level require the
development and maintenance of high standards of musicianship and technique [aim 3],
the parallel emphasis on developing and demonstrating advanced, informed interpretation
nurtures the individual creativity of performers [aim 2] in applying the historical and
analytical knowledge developed in the academic modules to the interpretative process [aim
5], while the presentation and communication skills they employ in performance also
contribute to the development of transferable skills [aim 8].
Indicative content
Study will be based on repertoire appropriate to a formal recital chosen in negotiation
between the student and first study tutor with reference to the individual instrumental
syllabus.
Students will also take part in first study classes to further support and develop their
performance skills, knowledge of repertoire and understanding of their instrument, such as
masterclasses, repertoire classes, workshops and performance classes according to the
requirements of their first study discipline (e.g. accompaniment classes for pianists, reed-
making workshops for oboists and bassoonists).
Study mode / delivery method(s):

This module is normally taken in full time, campus-based mode. The mode of delivery is in
individual classes, arranged between tutor and student at regular intervals (normally weekly)
throughout the academic year.
This module may also be taken in part time mode, where it will normally form part of the
second half (year 5) of the programme.
Intended Learning Outcomes:
Learning outcomes: Learning and Teaching methods
1. prepare a programme appropriate to a

formal recital Individual tuition developing technique and
employing interpretative and presentation skills
in the performance of repertoire.
2. deploy assured technical skills in the
execution of solo and/or ensemble Participation in first study performance classes,
performance masterclasses, repertoire classes and
workshops.
3. communicate advanced, informed
interpretation through performance Students are expected to practise for a
minimum of 15 hours per week on repertoire in
4. employ assured presentational skills, preparation for the recital.
demonstrating an appropriate awareness
of the conventions of public performance

Breakdown of study time:
Scheduled learning and teaching activities 32.00%
Guided independent learning 68.00%
Placement/study abroad 0.00%
Assessment and Feedback:
Summative assessment:
A Recital (100%) of approximately 40 minutes (maximum 45 minutes)

The recital assesses all the learning outcomes and takes during the final examination period
at the end of semester 2. Students must provide scores of the works they are performing in
the same edition for the examiners at the time of the recital. Students may take short breaks
during their recital according to guidelines set out in their syllabus.
Assessment task information

Recital This assessment will be scheduled during the period 5
May – 5 June 2015
Feedback and provisional marks will be returned by 12
June 2015
Resit attempt
In the event that you fail this task and, as a result, fail the
module, the re-examination will take place during the
period 7-10 September 2015.
Support for students retaking this assessment is
negotiated and agreed with your tutors. You will be
contacted directly by your Head or Assistant Head of
Department if you have failed this module and should
make every effort to meet with them as soon as possible
in order to prepare for your resit.
At the first assessment attempt, the full range of marks is available.

At the re-assessment attempt the mark is capped. The maximum
mark that can be achieved is 40%
Breakdown of summative assessment methods:

Written exams: 0.00%
Practical exams: 100.00%
Coursework: 0.00%
Formative assessment:
There are no formal formative assessment points, but students will have scheduled
opportunities to perform in first study performance classes in the course of the year.
Related Modules
Prerequisite module: First Study: Performance 3
Excluded module: all Final Composition Portfolio modules; all Final Music Technology
Portfolio modules; Final Recital (60); Final Recital (30).
Related module: Contextual Studies Project
It is common for students to study a topic in this project of direct relevance to their first study
performance work.

Learning Resources
Learning resources will vary from student to student according to their first study.
Every student requires access to an instrument. Whilst most students will have their own, in
certain circumstances instruments are provided by the Conservatoire; pianos, percussion
instruments and organs are a major resource of the faculty.
Students require access to appropriate practice facilities. While some practice can be done
off campus, for many students the majority of practice will need to be done in specialist
practice rooms. The Conservatoire utilizes an electronic booking system (iRecital) in order
to maximize resources.
Students must have access to scores appropriate to their instrument. It is essential that they
have their own copies of music, but the Conservatoire Library has a comprehensive
collection of both scores and CDs.
Students are encouraged to acquaint themselves with works for instruments other than their
own by composers that they are studying.

Recital marking criteria
Learning deploy advanced technical skills in Communicate advanced, informed Employ assured presentational skills prepare a programme appropriate to a
outcome the execution of solo and ensemble interpretative skills through formal recital
performance performance
90% + A performance of phenomenal artistry and technical skill that exceeds the expectations of the level
80% and Virtuosic technical command. Demonstrates a rare interpretative Outstanding platform skills which The programme is exceptionally well
above ability. complement the performance entirely. prepared, ambitious and imaginative.
Programme notes are polished
70 – 79% An excellence in fluency and control An imaginative and stylish Excellent stagecraft which conveys a The recital is very well prepared. The
which allows the listener to concentrate interpretation. Sophisticated use of feeling of great confidence. The programme is of an appropriate length
on interpretative matters; an occasional timbral variety for artistic effect gives the performer looks always 'at one' with the presents a suitable challenge for the level,
blemish in no way detracts. performances a marked individuality. A instrument or voice. A real engagement demonstrating imagination and ambition.
significant attempt to develop a with the music is sensed by the listener. Programme notes are mature and
stylistically characterised performance. informative.
60 – 69% A good technique which meets almost A convincing interpretation. Evident There is a sense of occasion and The recital is well prepared. The programme
all of the demands of the programme. understanding of the work's larger scale performance; gesture and posture are is of an appropriate length and presents a
Problems of tone quality, intonation, co- and context is combined with a certain at one with the music and the performer suitable challenge for the level,
ordination, passagework or diction are originality and spontaneity. has clear control of the performance. demonstrating some imagination and
rare and do not distort the ambition. Programme notes are very well
performance. written and presented.
50 – 59% A satisfactory technique which meets A coherent interpretation. The playing Good outward presentation and a The recital is generally well prepared, .an
most of the demands of the may not be particularly individual but is sense of involvement which draws in appropriate length and the choice of
programme. If not seamless, technical well shaped throughout and the listener. The performer has an programme presents a suitable challenge for
problems rarely distort the demonstrates some imagination and assured control of the performance. the level. Programme notes are well written
performance. awareness of stylistic issues. and presented.
40 – 49% A generally satisfactory technique A generally coherent and informed A satisfactory rapport with the The recital is prepared to a generally
which meets many of the demands of interpretation, with some well-shaped audience. Errors rarely manifest satisfactory level. The programme is of an
the programme. playing, although there may be only a themselves visually, although appropriate length and the repertoire
little imagination or sensitivity to issues awareness of performance conventions presents an adequate challenge for the level
of style. is not consistently convincing. overall. Programme notes are satisfactory.
Narrow A generally unsatisfactory technique An inconsistent interpretation. Uncomfortable manner; limited The recital appears underprepared. It may
fail (30- which meets only a few of the demands Embryonic attempts to shape and projection. The performer struggles to be evidently underlength and/or may not
39%) of the programme. Although there may phrase are patchy. Shows little take command of the performance and present a sufficient challenge for the level.
be some technical control, certain imagination or stylistic awareness. has a limited awareness of Programme notes are very poorly presented
elementary technical problems are in performance conventions. and contain little relevant information.
evidence.
Fail Many musical and technical deficiencies resulting in interpretations which are at The performer makes no attempt to The programme may be significantly
(below best mechanical and inconsistent. communicate with the listeners and underlength and/or does not present an
30%) seems unaware of basic performance appropriate challenge for the level.
conventions. Programme notes are either missing or
inadequate.



JEW for Jewellery)
Credit value: 30
ECTS Credit value: 15
Module Leader: David Purser
Module finish date(s) during the current academic year: June5
Recital 100%

Created By:
Date:
7 Pro-forma issued January 2009

This module represents the culmination of work done in the suite of first-study modules
undertaken in each of the first three years. Although first study lies at the heart of the
BMus performance pathway, there are occasions where the flexibility of taking the 30-
credit recital option will be in the best interests of the student and his or her long term
career development, allowing them to focus instead on the Final Project, for example.
Nonetheless, this module contributes directly to their preparation for the profession [aim
1] in terms of its overall demands. While the technical demands of the repertoire at this
level require the development and maintenance of high standards of musicianship and
technique [aim 3], the parallel emphasis on developing and demonstrating advanced,
informed interpretation nurtures the individual creativity of performers [aim 2] in applying
the historical and analytical knowledge developed in the academic modules to the
interpretative process [aim 5], while the presentation and communication skills they
employ in performance also contribute to the development of transferable skills [aim 8].
Indicative content
syllabus.
masterclasses, repertoire classes, workshops and performance classes according to the
requirements of their first study discipline (e.g. accompaniment classes for pianists, reed-
making workshops for oboists and bassoonists).

This module may also be taken in part time mode.
1. prepare and present a programme

appropriate to a formal recital Individual tuition developing technique and
2. deploy assured technical skills in the in the performance of repertoire.
execution of solo and/or ensemble
performance Participation in first study performance classes,
masterclasses, repertoire classes and
3. communicate advanced, informed workshops.
interpretation through performance
Students are expected to practise for a
minimum of 10 hours per week on repertoire in
4. employ assured presentational skills, preparation for the recital.
demonstrating an appropriate awareness
of the conventions of public performance

Recital (100%) of 25-30 minutes.
the same edition for the examiners at the time of the recital. Students may take a short
break during their recital according to guidelines set out in their syllabus.

May – 5 June 2015
June 2015
Resit attempt
make every effort to meet with them as soon as possible in
order to prepare for your resit.

At the re-assessment attempt the mark is capped. The maximum mark
that can be achieved is 40%

Coursework: 0.00%
Feedback:

Students received continuous formative feedback from their tutors in individual lessons and
from tutors and peers in first study classes; and they receive a written report on progress
during the second term. Students will receive written feedback on the summative assesment.
Related Modules

Excluded module: all Final Composition Portfolio modules; all Final Music Technology
Portfolio modules; Final Recital (60); Final Recital (45); Final Project (30).
performance work.
Learning Resources
Every student requires access to an instrument. Whilst most students will have their own, in
certain circumstances instruments are provided by the Conservatoire; pianos, percussion
instruments and organs are a major resource of the faculty.
Students require access to appropriate practice facilities. While some practice can be done
off campus, for many students the majority of practice will need to be done in specialist
practice rooms. The Conservatoire utilizes an electronic booking system (iRecital) in order to
maximize resources.
Students must have access to scores appropriate to their instrument. It is essential that they
have their own copies of music, but the Conservatoire Library has a comprehensive
Students are encouraged to acquaint themselves with works for instruments other than their
own by composers that they are studying.
For assessment criteria, see the Final Recital (45) criteria above.

0


JEW for Jewellery)
Credit value: 60
Module Leader: David Purser
Recital 100%

Created By:
Date:
and lies at the heart of the course. It represents the culmination of work done in the suite of
first-study modules undertaken in each of the first three years, leading eventually to the
Final Recital in the fourth year, thus contributing directly to their preparation for the
profession [aim 1]. While the technical demands of the repertoire at this level require the
the parallel emphasis on developing and demonstrating advanced, informed interpretation
nurtures the individual creativity of performers [aim 2] in applying the historical and
analytical knowledge developed in the academic modules to the interpretative process [aim
5], while the presentation and communication skills they employ in performance also
contribute to the development of transferable skills [aim 8].
Indicative content
syllabus.
masterclasses, repertoire classes, workshops and performance classes, according to the
requirements of their first study discipline.

This module may also be taken in part time mode, where it will normally be the sole module
studied in the second half (year 5) of the programme.
1. prepare and present a programme

appropriate to a formal recital Individual tuition developing technique and
2. deploy assured technical skills in the in the performance of repertoire.
execution of solo and/or ensemble
performance Participation in first study performance classes,
masterclasses, repertoire classes and
3. demonstrate advanced, informed workshops.
interpretative skills through performance
Students are expected to practise for a
4. employ assured communication and minimum of 20 hours per week on repertoire in
presentational skills, demonstrating an preparation for the recital.
appropriate awareness of the conventions
of public performance
A Recital (100%) of 50-60 minutes.
the same edition for the examiners at the time of the recital. Students may take short breaks
during their recital according to guidelines set out in their syllabus.

May – 5 June 2015
June 2015
Resit attempt
make every effort to meet with them as soon as possible in
order to prepare for your resit.

At the re-assessment attempt the mark is capped. The maximum mark
that can be achieved is 40%

Coursework: 0.00%
Feedback:
Students received continuous formative feedback from their tutors in individual lessons
and from tutors and peers in first study classes; and they receive a written report on
progress during the second term. Students will receive written feedback on the summative
assessment.
Related Modules
Excluded modules: all Final Composition Portfolio modules; all Final Music Technology
Portfolio modules; Final Recital (45); Final Recital (30); Final Project (60)

It is common for students to study a topic in this project of direct relevance to their first
study performance work.
Learning Resources
Every student requires access to an instrument. Whilst most students will have their own,
in certain circumstances instruments are provided by the Conservatoire; pianos,
percussion instruments and organs are a major resource of the faculty.
Students require access to appropriate practice facilities. While some practice can be
done off campus, for many students the majority of practice will need to be done in
specialist practice rooms. The Conservatoire utilizes an electronic booking system
(iRecital) in order to maximize resources.
Students must have access to scores appropriate to their instrument. It is essential that
they have their own copies of music, but the Conservatoire Library has a comprehensive
Students are encouraged to acquaint themselves with works for instruments other than
their own by composers that they are studying.
For assessment criteria, see the Final Recital (45) criteria above.
Module Title: Final Composition Portfolio (45)

Programme(s) on which the module is delivered: BMus (Hons) Composition
Module Code: MUS6047 Level:6

module title for the SRS (maximum 3 alpha
characters e.g. EDU for Education; JEW for
Jewellery)
Credit value: 45
Module Leader: Dr Joe Cutler
Portfolio (100%)
Date of Module Approval / Review Version Number Version Date

Created By:
Date:
Academic Registry, January 201215

This module provides a climax to the composition student’s first study learning experience
and lies at the heart of the course. It represents the culmination of work done in the suite
of first-study modules undertaken in each of the first three years, leading eventually to the
Final Portfolio in the fourth year, thus contributing directly to their preparation for the
profession [aim 1]. While the technical demands of composition at this level require the
the parallel emphasis on developing their own work nurtures the individual creativity of
composers [aim 2] in the context of the historical and analytical knowledge developed in
the academic modules [aim 5], while he deployment of presentation skills in relation to
their compositions also contributes to development of transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Composition Portfolio that the
individual student agrees with the Head of School and will vary from student to student
according to the credit weighting of the module and the student’s creative needs and
decisions.
Students will also take part in first study classes, workshops and masterclasses to further
support and develop their composition skills, their contextual knowledge and aesthetic
understanding of contemporary composition.


Individual tuition developing compositional
1. Prepare and present a portfolio of technique and scoring clarity, and developing
work appropriate for public performance the student’s individual creativity through
and dissemination discussion of his/ her work.
2. Deploy assured technical skills in the Participation in first study composition classes,
execution of compositional work workshops and masterclasses develop the
students understanding of contextual, aesthetic
3. Demonstrate individuality and and technical issues in contemporary
creativity through composition composition.
4. Articulate an informed awareness of Students are expected to work for a minimum of

contextual, technical and/or aesthetic 15 hours per week on compositions for the final
issues in relation to the portfolio by portfolio.
means of a written commentary and viva
voce examination

Scheduled learning and teaching activities 22%
Guided independent learning 78%
Placement/study abroad 0%

Portfolio (100%)
The portfolio assesses all the learning outcomes and is submitted at the end of semester 2.
The portfolio should contain the pieces submitted for assessment and a written commentary
on creative and technical issues in the work. Students will attend a viva voce examination
after the portfolio has been submitted to discuss and defend their work. Failure to attend the
viva may result in a deduction of up to 10 marks from the Creative Portfolio mark, at the
discretion of the exam board.
Final portfolio First attempt

The deadline for this assessment is 6 May 2015
The work should be submitted to the Admin Centre with a
coversheet by 3pm on that date
Note: the viva for the portfolio will be scheduled between 15
May - 5 June
Feedback and provisional marks will be returned within 10
working days of your viva voce examination.
Resit attempt
module, the resit deadline for this work is 19 August 2016.
Support for students retaking this assessment is via your first
study teacher and head of department. Contact them as soon
as possible when you become aware that you will need to
undertake a resit.

At the re-assessment attempt the mark is capped. The maximum mark that
can be achieved is 40%

Written exams: %
Practical exams: %
Coursework: 100%
There are no formal formative assessment points, but students have the opportunity to have
work performed in concerts throughout the year, and to submit work for inclusion in
workshops by professional ensembles and performers.
Feedback:
during the second term. Students will receive written feedback on the summative
assessment.
Related Modules
Prerequisite modules: First Study: Composition 3

Excluded modules:
 all Final Recital Portfolio modules
 all Final Music Technology Portfolio modules
 Final Composition Portfolio (60); Final Composition Portfolio (30).
compositional interests.
Learning Resources
Every student should have their own computer/laptop
Students will require access to technical workbooks, study-scores and other materials. The
Composition Department will ensure that appropriate provision is made in the
Library but students are strongly recommended to have a personal copy of at
least one of the following:
Adler, S (2002-03) Study of orchestration 3rd ed. (New York, WW Norton and co)
Bartolozzi, B (1967) New Sounds for woodwinds (London, OUP)
Blatter A (1997) Instrumentation and Orchestration (New York, Schirmer)
Forsyth, C (re-issued 1982) Orchestration (Dover Publications)
Piston, W (1955) Orchestration (New York, WW Norton and co)
For assessment criteria, see the Final Portfolio (60) criteria above.



Jewellery)
Credit value: 30
Portfolio (100%)

Created By:
Date:

BMus composition pathway, there are occasions where the flexibility of taking the 30-credit
portfolio option will be in the best interests of the student and his or her long term career
development, allowing them to focus instead on the Final Project, for example.
Nonetheless, this module contributes directly to their preparation for the profession [aim 1]
in terms of its overall demands. While the technical demands of composition at this level
require the development and maintenance of high standards of musicianship and
technique [aim 3], the parallel emphasis on developing their own work nurtures the
individual creativity of composers [aim 2] in the context of the contextual historical and
analytical knowledge developed in first study classes and the academic modules [aim 5],
while the deployment of presentation skills in relation to their compositions also contributes
to development of transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Composition Portfolio (30) that
the individual student agrees with the Head of School and will vary from student to student
decisions.

This module may also be taken in part time mode.


voce examination


Portfolio (100%)

May - 5 June
Resit attempt
undertake a resit.


Written exams: %
Practical exams: %
Coursework: 100%
Feedback:
assessment.
Related Modules

Excluded modules:
 Final Composition Portfolio (45) and Final Composition Portfolio (60)
 Final Project (30)
Learning Resources
Every student should have their own computer/laptop.
Piston, W (1955) Orchestration (New York, WW Norton and Co)



Jewellery)
Credit value: 60
Portfolio (100%)

Created By:
Date:

This module provides a climax to the composition student’s first study learning experience
profession [aim 1]. While the technical demands of composition at this level require the
the parallel emphasis on developing their own work nurtures the individual creativity of
composers [aim 2] in the context of the historical and analytical knowledge developed in
first study classes and the academic modules [aim 5], while the deployment of
presentation skills in relation to their compositions also contributes to development of
transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Composition Portfolio (60) that
decisions.



voce examination


Portfolio (100%)

May - 5 June
Resit attempt
undertake a resit.


Written exams: %
Practical exams: %
Coursework: 100%
Feedback:
assessment.
Related Modules

Excluded modules:
 Final Composition Portfolio (45) and Final Composition Portfolio (30)

Learning Resources
Piston, W (1955) Orchestration (New York, WW Norton and Co)

Final Composition Portfolio marking criteria
Assessment in First-Study modules is holistic and learning outcomes are not individually weighted.
Learning Deploy assured technical skills demonstrate individuality and Prepare and present a portfolio of Articulate an informed
Outcome to support the preparation and creativity through composition work appropriate for public awareness of contextual,
execution your compositional performance and dissemination technical and/or aesthetic
work issues in relation to the
portfolio
Fail Completely lacking in Bland, unimaginative work. Either Unintelligible and clumsy The candidate demonstrates
(below compositional technique. No completely lacking in structural presentation of scores and little or no ability to articulate
30%) understanding of basic coherence or incredibly banal. supporting materials. an informed awareness of
instrumentation; harmonically contextual, technical or
embryonic; lacking in aesthetic issues in relation to
rudimentary music theory the portfolio, either in written
commentary or in the viva
voce.
Narrow The technique is not Poor with certain merits. Certain Legible presentation although a The candidate demonstrates
fail (30- sufficiently developed to works have interesting moments, but general lack of sophistication. some ability to articulate an
39%) support artistic invention. there is an inconsistency in quality Some basic notational errors; awareness of issues in
Although there may be some where most work is haphazardly scores may be scores unbound relation to the work, but this is
signs of technical skill, the organised and where notes are and presented in a rather casual limited and does not extend
overall level of proficiency “worked” on the page with little fashion. beyond very basic ideas and
inhibits any sense of creative understanding of the aural effect when concepts.
originality realised in performance. Mostly dull
and lifeless.
40 – 49% A satisfactory technique for Although much of the portfolio may be Presentation of scores is The candidate is able to
the level. Few miscalculations a composite blend of outside satisfactory. The candidate has a articulate an awareness of
or technical errors; competent influences and some of it may be reasonable grasp of the use of a issues relating to their work,
use of the instrumental forces unsuccessful “experiments”, it has a music notation programme (such although the scope of this is
chosen basic overall level of consistency, and as Sibelius). In the case of hand- sometimes quite narrow and
at rare moments some sense of written scores, the candidate can not consistently well informed.
individuality. However, there is produce legible and scores that
narrowness in terms of scope and can be used practically. However,
ambition. there are some notational errors.

50 – 59% A strong technique. Any Competent realisation of ideas, Well presented scores and The candidate is able to
miscalculations or errors are sustained over the entire piece. The supporting materials. There may discuss contextual, aesthetic
the result of creative beginnings of originality, but be occasional notational mistakes and technical issues relating
challenges rather than insufficient sense of adventure, or but the score and supporting to their work in an informed
technical deficiencies ideas tending to be inherently materials are presented to a good and articulate manner,
uninteresting: “safe” work that takes level. Scores are bound. although there is scope at
few risks, or adventurous work that times for greater
fails to come off. understanding and insight.
60 – 69% Very strong technique. The The portfolio has moments of real flair Very well presented scores and The candidate is able to
student has the necessary and a certain individuality. Evidence of supporting materials. The discuss contextual, aesthetic
technical command to express a strong musical imagination candidate has a fluency in his/her and technical issues relating
imaginative and challenging effectively realized in music that score setting. to their work in an informed
ideas. A good sense of how to displays a coherence of thought and articulate manner that
use structure effectively. appropriate to the medium. A sense of demonstrates both
adventure which leads perhaps to understanding and insight.
some miscalculations which do not
seriously impair the overall impact of
the music.
70 – 79% Excellent technique. In Powerful ideas effectively controlled Excellent presentation. Scores and The candidate is able to
addition to having the and sustained over appropriate supporting materials are presented discuss contextual, aesthetic
necessary technical command durations. A real sense of imaginative at a professional level. and technical issues relating
to express imaginative and exploration of the medium; although to their work in an informed
challenging ideas, the student there may still be minor and articulate manner that
demonstrates an advanced miscalculations these do not mar the demonstrates an excellent
structural awareness to realisation of work that has vitality and level of understanding and
support his/her musical ideas originality and an overall consistency. insight.
80% and Outstanding technical control Exceptional composing, Scores and supporting materials The candidate is able to
above and structural awareness demonstrating great originality presented at an exceptional discuss contextual, aesthetic
coupled with structural thought of professional level. and technical issues relating
considerable sophistication. to their work in an informed
and articulate manner that
demonstrates an impressively
mature and sophisticated
level of understanding and
insight.
90% and A portfolio of phenomenal artistry, confidence and technical skill that exceeds the expectations of the level.
above

Module Title: Final Music Technology Portfolio (45)

Programme(s) on which the module is delivered: BMus (Hons) Music Technology

Jewellery)
Credit value: 45
Module Leader: Dr Simon Hall
Portfolio (100%)

Created By:
Date:

profession [aim 1]. While the technical demands of music technology at this level require
the development and maintenance of high standards of musicianship and technique [aim
3], the parallel emphasis on developing their own work nurtures the individual’s creativity
[aim 2] in the context of the historical and analytical knowledge developed in the academic
modules [aim 5], while the deployment of presentation skills in relation to their work also
contributes to development of transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Music Technology Portfolio that
decisions.
support and develop their creative skills, their contextual knowledge and aesthetic
understanding of contemporary music technology practice.


Individual tuition developing technique and skills
1. Prepare and present a portfolio of in music technology, and developing the
work appropriate for public performance student’s individual creativity through discussion
and dissemination of his/ her work.
2. Deploy assured technical skills in the Participation in first study classes, workshops
execution of music technology work and masterclasses develop the students
understanding of contextual, aesthetic and
3. Demonstrate individuality and technical issues in contemporary music
creativity through music technology. technology.

contextual, technical and/or aesthetic 15 hours per week on creative music technology
issues in relation to the portfolio by work for the final portfolio.
voce examination



Portfolio (100%)
viva may result in a deduction of up to 10 marks from the Portfolio mark, at the discretion of
the exam board.

May - 5 June
Resit attempt
undertake a resit.


Written exams: %
Practical exams: %
Coursework: 100%
Feedback:
assessment.

Related Modules
Prerequisite modules: First Study: Music Technology 3
Excluded modules:
 all Final Composition Portfolio modules
 Final Music Technology Portfolio (60); Final Music Technology Portfolio (30).
creative interests.
Learning Resources
Students will be required to access Studios 1, 2, 3, 4, 5 and 6 together with Live Room 1,
the iMac suite and the Music for Media lab.
Music Technology Department will ensure that appropriate provision is made in
the Library for appropriate works.
Students are encouraged to acquaint themselves with as wide a range of music as possible
through scores and recordings (as well as live performance). They are also
encouraged to read widely around the subject through books on recording and
production techniques, individual composers, generic musical guides and also
texts on relevant issues of aesthetics. Exploration of other related art forms is
also encouraged.



Jewellery)
Credit value: 30
Portfolio (100%)

Created By:
Date:

BMus music technology pathway, there are occasions where the flexibility of taking the 30-
credit portfolio option will be in the best interests of the student and his or her long term
career development, allowing them to focus instead on the Final Project, for example.
Nonetheless, this module contributes directly to their preparation for the profession [aim 1]
in terms of its overall demands. While the technical demands of technology work at this
level require the development and maintenance of high standards of musicianship and
technique [aim 3], the parallel emphasis on developing their own work nurtures their
individual creativity[aim 2] in the context of the contextual historical and analytical
knowledge developed in first study classes and the academic modules [aim 5], while the
deployment of presentation skills in relation to their work also contributes to development
of transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Music Technology Portfolio (30)
that the individual student agrees with the Head of School and will vary from student to
student according to the credit weighting of the module and the student’s creative needs
and decisions.
support and develop their creative skills, their contextual knowledge and aesthetic
understanding of contemporary music technology practice.

throughout the academic year. This module may also be taken in part time mode.

and dissemination of his/ her work.

voce examination


Portfolio (100%)

May - 5 June
Resit attempt
undertake a resit.


Written exams: %
Practical exams: %
Coursework: 100%
Feedback:
assessment.
Related Modules
Excluded modules:

creative interests.
Learning Resources
also encouraged.



Jewellery)
Credit value: 60
Portfolio (100%)

Created By:
Date:

This module provides a climax to the music technology student’s first study learning
experience and lies at the heart of the course. It represents the culmination of work done
in the suite of first-study modules undertaken in each of the first three years, leading
eventually to the Final Portfolio in the fourth year, thus contributing directly to their
preparation for the profession [aim 1]. While the technical demands of music technology at
this level require the development and maintenance of high standards of musicianship and
technique [aim 3], the parallel emphasis on developing their own work nurtures the
individual’s creativity [aim 2] in the context of the historical and analytical knowledge
developed in the academic modules [aim 5], while the deployment of presentation skills in
relation to their work also contributes to development of transferable skills [aim 8].
Indicative content
Study is based on the group of works making up the Final Music Technology Portfolio (60)
that the individual student agrees with the Head of Department and will vary from student
to student according to the credit weighting of the module and the student’s creative needs
and decisions.
support and develop their skills, their contextual knowledge and aesthetic understanding of
contemporary creative music technology.


and/or dissemination of his/ her work.

voce examination


Portfolio (100%)
viva may result in a deduction of up to 10 marks from the Portfolio mark, at the discretion of
the exam board.

May - 5 June
Resit attempt
undertake a resit.


Written exams: %
Practical exams: %
Coursework: 100%
Feedback:
assessment.
Related Modules
Excluded modules:

creative interests.
Learning Resources
also encouraged.

Final Music Technology Portfolio marking criteria
Assessment in First-Study modules is holistic and learning outcomes are not individually weighted.
Learning Deploy assured technical skills Demonstrate individuality and creativity Prepare and present a Articulate an informed
Outcome to support the preparation and through Music Technology portfolio of work awareness of contextual,
execution of Music Technology appropriate for public technical and/or aesthetic issues
work performance and in relation to the portfolio
dissemination
Fail Completely lacking in Bland, unimaginative work. Either Unintelligible and clumsy The candidate demonstrates
(below technique. No understanding of completely lacking in coherence or presentation of media little or no ability to articulate an
30%) basic principles. incredibly banal. and supporting materials. informed awareness of
contextual, technical or aesthetic
issues in relation to the portfolio,
either in written commentary or
in the viva voce.
Narrow The technique is not sufficiently Poor with certain merits. Certain works Vaguely coherent The candidate demonstrates
fail (30- developed to support artistic have interesting moments, but there is an presentation although a some ability to articulate an
39%) invention. Although there may inconsistency in quality where most work is general lack of awareness of issues in relation
be some signs of technical skill, haphazardly organised. sophistication. Some to the work, but this is limited
the overall level of proficiency basic errors; media may and does not extend beyond
inhibits any sense of creative be presented in a rather very basic ideas and concepts.
originality casual fashion.
40 – 49% A satisfactory technique for the Although much of the portfolio may be a Presentation of media is The candidate is able to
level. Few miscalculations or composite blend of outside influences and satisfactory. The articulate an awareness of
technical errors; competent use some of it may be unsuccessful candidate has a issues relating to their work,
of the technological resources “experiments”, it has a clear overall level of reasonable grasp of although the scope of this is
chosen. consistency. However, there is narrowness media production sometimes quite narrow and not
in terms of scope and ambition. processes, although consistently well informed.
there are some errors.
50 – 59% A strong technique. Any Competent realisation of ideas, sustained Well presented media The candidate is able to discuss
miscalculations or errors are over the entire folio. The beginnings of and supporting materials. contextual, aesthetic and
the result of creative challenges originality, but insufficient sense of There may be occasional technical issues relating to their
rather than technical adventure, or ideas tending to be inherently minor errors. work in an informed and
deficiencies uninteresting: “safe” work that takes few articulate manner, although there

risks, or adventurous work that fails to is scope at times for greater
come off. understanding and insight.
60 – 69% Very strong technique. The The portfolio has moments of real flair and Very well presented The candidate is able to discuss
student has the necessary a certain individuality. Evidence of a strong media and supporting contextual, aesthetic and
technical command to express musical imagination effectively realized in materials. The candidate technical issues relating to their
imaginative and challenging material that displays a coherence of has a fluency in his/her work in an informed and
ideas. A good sense of how to thought appropriate to the medium. A production. articulate manner that
use materials effectively. sense of adventure that leads perhaps to demonstrates both
some miscalculations which do not understanding and insight.
seriously impair the overall impact of the
musical result.
70 – 79% Excellent technique. In addition Powerful ideas effectively controlled and Excellent presentation. The candidate is able to discuss
to having the necessary sustained over appropriate durations. A Media and supporting contextual, aesthetic and
technical command to express real sense of imaginative exploration of the materials are presented technical issues relating to their
imaginative and challenging medium; although there may still be minor at a professional level. work in an informed and
ideas, the student miscalculations these do not mar the articulate manner that
demonstrates an advanced realisation of work that has vitality and demonstrates an excellent level
awareness to support his/her originality and an overall consistency. of understanding and insight.
musical ideas
80 -89% Outstanding technical control Exceptional work, demonstrating great Media and supporting The candidate is able to discuss
and musical awareness originality coupled with considerable materials presented at an contextual, aesthetic and
sophistication. exceptional professional technical issues relating to their
level. work in an informed and
articulate manner that
demonstrates an impressively
mature and sophisticated level of
understanding and insight.
90% and
above A portfolio of phenomenal artistry, confidence and technical skill that exceeds the expectations of the level.

Module Title: Final Project (45)

Programme(s) on which the module is delivered: BMus (Hons); BMus (Hons) Jazz

JEW for Jewellery)
Credit value: 45
Module Leader: Dr Steve Halfyard
Module finish date(s) during the current academic year: May 6
Final Project (artefact and report) 100%

Created By:
Date:

This module allows students to design and carry out a substantial project of their own
choosing [aims 8 and 9], which does not have to be in their first study area but which
should have some clear link with their professional development and may well reflect
aspects of their long-term career plans. Although the first-study Final Recital/ Portfolio is at
the core of the BMus course, musicians today have to work in a variety of situations and
contexts. The project allows students to reflect and plan in a structured environment and
enables them to draw on and develop additional skills in an area other than that of the
Final Recital/Portfolio module [aim 10]
The nature of the projects therefore vary quite widely, and different students will achieve
different course aims and achieve different specific learning outcomes appropriate to their
own long term plans; but the process of executing the project on this scale is normally
expected to promote the development of a range of personal and interpersonal skills in the
context of the cooperative and collaborative environment of the music profession [aim 11]
and to equip them with a range of transferable skills relevant to their career aspirations
[aim 7].
Indicative content
The precise content will vary from one project to another, but most proposals will fall into
one or more of several categories:
 performance
 composition
 recording
 education, community and outreach work
 arts administration
 business project
 internship/ work experience
 academic (dissertation; transcription and analsyis)

This module can be taken by both full time and part time students. Preparation for the module
is done in year 3, and after that point students' work is self-directed, with one-to-one
supervisory support from a specialist; and online and one-to-one tutorial support from the
module coordinator. Delivery is therefore very flexible, and agreed individually between each
student and his/ her tutor(s).

1. define, plan and execute a First study teaching (where all or part of the
substantial project, demonstrating an project falls inside the first study area): students
appropriate level of ambition and may also allocated their SA (student allocated)
achievement in the chosen field of hours to their project.
study
Additional tutorial support (where all or part of the
project falls outside the first study area): students
2. document the project may allocated their SA hours to their project.
Online guidance and support for contracts and

3. evaluate the learning outcomes reports
achieved
Online submission and revision of learning
contracts
4. present the report appropriately
with relevant supporting material Group lecture on writing the report
Tutorial support for evaluation reports
Student-directed project work
Student-directed reflection and evaluation

Placement/study abroad %

The precise number and weightings of items are open to negotiation between tutor and
student as part of the learning contract, but will normally be one of the following:
Either: project artifact(s) (80%) [learning outcome 1] and evaluation report (c. 3000 words)
(20%) [learning outcomes 2, 3 and 4]
Or: evaluation report and supporting documentation (10-12,000 words) [learning
outcomes1-4]
Or: dissertation (up to 10-12,000 words) [learning outcomes1-4]
Other adjustments may be made to the weighting of elements in agreement with tutors e.g.
project artifact(s) (50%) and evaluation report plus supporting documentation (c. 6,000
words) (50%); or element 1 (40%); element 2 (40%); evaluation report (20%).
All projects except dissertations must include an evaluation report (minimum 20% weighting)

The majority of projects use the 80/20 split in assessment.
Written exams: %
Coursework: 20.00%
There are no formal formative assessments in this module. However, students are required
to submit a learning contract for this project as part of a third year module. In the light of
feedback, they are required to resubmit a revised contract in the first term, on which they
receive further written feedback and advice on issues such as the development of learning
outcomes and the action plan. This is an ongoing cycle of revision, resubmission and
feedback throughout terms 1 and 2 as the student continues to develop and refine his/ her
ideas and work.

Feedback:
Students receive ongoing formative feedback from their teacher/ supervisor as they work on
the project. They receive initial written feedback at the end of year 3 on their draft contract
as part of the Professional Portfolio 3 module, and further written feedback on learning
contracts, delivered electronically via Moodle early in year 4. If the contract is updated, the
module coordinator offers further feedback on the new version.
Students receive written feedback on all summative assessments and where the mark is
split between an artifact and report will receive separate feedback for each item.
Related Modules
Students submit their initial learning contract for the Final Project as the assessment in a
year 3 module. For BMus (Hons) students, this is Professional Portfolio 3; for BMus (Hons)
Jazz it is XXX .
Precluded modules: this module may not be taken in conjunction with either the Final Project
(60) or Final Project (30).
Learning Resources
Essential Learning Resources

BMus4 Final Project Moodle area http://www.moodle.bcu.ac.uk/pme
Essential Reading
BMus4 Final Project handbook (available online in Moodle)
The resources required by each student will vary depending on the project, and identifying
and locating these resources will normally be part of the project work. Staff and service
within the Conservatoire will support students where ever possible (e.g. by funding additional
tutorial support; hiring scores; providing rehearsal and performance space without charge for
non-public performances etc)



JEW for Jewellery)
Credit value: 30

Created By:
Date:

8
This module allows students to design and carry out a focused project of their own
enables them to draw on and develop additional skills in an area other than that of the
Final Recital/Portfolio module [aim 10].
own long term plans; but the process of executing the project is normally expected to
promote the development of a range of personal and interpersonal skills in the context of
the cooperative and collaborative environment of the music profession [aim 11] and to
equip them with a range of transferable skills relevant to their career aspirations [aim 7].
Indicative content
 performance
 composition
 recording


9
1. define, plan and execute a project, First study teaching (where all or part of the
demonstrating an appropriate level of project falls inside the first study area): students
ambition and achievement in the may also allocated their SA (student allocated)
chosen field of study hours to their project.

2. evaluate the learning outcomes project falls outside the first study area): students
achieved may allocated their SA hours to their project.

3. present the report appropriately reports
with relevant supporting material
contracts
Group lecture on writing the report

student as part of the learning contract, but will normally take the following from:
Project artifact (80%) [learning outcome 1] and evaluation of learning outcomes (c. 2000
words) (20%) [learning outcomes 2 and 3]
Any other weighting of elements will be agreed in negotiation with the module coordinator.

0
Written exams: %
Coursework: 20.00%
ideas and work.
Feedback:
as part of the Professional Portfolio 3module, and further written feedback on learning
Related Modules
Jazz it is XXX .
Precluded modules: this module may not be taken in conjunction with either the Final
Project (45) or Final Project (60).

1
Learning Resources

Essential Reading
within the Conservatoire will support students where ever possible (e.g. by funding
additional tutorial support; hiring scores; providing rehearsal and performance space without
charge for non-public performances etc)

2


JEW for Jewellery)
Credit value: 60

Created By:
Date:

This module allows students to design and carry out a very substantial project of their own
enables them to draw on and develop additional skills in an area other than that of the Final
Recital/Portfolio module [aim 10]
own long term plans; but the process of executing a project on this scale is normally
expected to promote the development of a range of entrepreneurial, personal and
interpersonal skills in the context of the cooperative and collaborative environment of the
music profession [aim 11] and to equip them with a range of transferable skills relevant to
their career aspirations [aim 7].
Indicative content
 performance
 composition
 recording
 academic (dissertation; transcription and analsyis)


1. define, plan and execute a First study teaching (where all or part of the
substantial project, demonstrating an project falls inside the first study area): students
appropriate level of ambition and may also allocated their SA (student allocated)
achievement in the chosen field of hours to their project.
study
project falls outside the first study area): students
2. document the project may allocated their SA hours to their project.

3. evaluate the learning outcomes reports
achieved
contracts
4. present the report appropriately
with relevant supporting material Group lecture on writing the report


student as part of the learning contract, but will normally be one of the following:
Either: project artifact(s) (80%) [learning outcome 1] and evaluation report (c. 4000 words)
(20%) [learning outcomes 2, 3 and 4]
Or: evaluation report and supporting documentation (12-16,000 words) [learning
outcomes1-4]
Or: dissertation (up to 12-16,000 words) [learning outcomes1-4]
Other adjustments may be made to the weighting of elements in agreement with tutors e.g.
project artifact(s) (50%) and evaluation report plus supporting documentation (c.8000 words)
(50%); or element 1 (40%); element 2 (40%); evaluation report (20%).
All projects except dissertations must include an evaluation report (minimum 20% weighting)

The majority of projects use the 80/20 split in assessment.
Written exams: %
Coursework: 20.00%
ideas and work.

Feedback:
as part of the Professional Portfolio 3 module, and further written feedback on learning
Related Modules
Jazz it is XXX .
Precluded modules: this module may not be taken in conjunction with either the Final Project
(45) or Final Project (30); nor may it be taken with any First Study (60) module.
Learning Resources

Essential Reading
within the Conservatoire will support students where ever possible (e.g. by funding additional
tutorial support; hiring scores; providing rehearsal and performance space without charge for
non-public performances etc)

Final Projects: general criteria
When marking projects, we use the existing marking criteria for that type of work as the main
set of guidelines for assessment of the quality of the work. However, for all projects, we also
apply holistically apply the following criteria in addition to any other sets of marking
guidelines or consideration of achievement of your own learning objectives for the project,
taking into consideration both the ambition and the success of the work when mapped
against the level of professionalism we except to find in final year work.
80+ The project is very ambitious in its scale and objectives and has been
executed to an outstanding and thoroughly professional standard.
70-79 The project is ambitious in its scale and objectives and has been
executed to a generally professional standard.
60-69 The project is suitably challenging for the module, and has been
executed to a very high standard overall, although there is scope for
more polish in the final work.
50-59 EITHER: the project is suitably challenging for the module and
generally executed to good standard, but there are some areas
where it has not been completely successful; OR: the work is
executed to a very high standard overall, but the project itself is not
particularly ambitious or challenging.
40-49 EITHER: the project is suitably challenging for the module and
generally executed to a satisfactory standard, but there are obvious
areas where it has not been successful; OR: the work is executed to
a good standard overall, but the project itself is neither ambitious nor
challenging.
30-39 EITHER: the project is suitably challenging for the module but there
are many obvious areas where it has not been successful, and the
work overall is of a poor standard; OR: the work is executed to a
satisfactory standard overall, but the realization of the project itself is
limited and clearly has not presented a challenge appropriate to the
level.
Below 30 EITHER: the realization of the project is too limited and undemanding
to meet the requirements of the module; AND/OR: the work is
executed to a very poor standard.
Marking criteria for specific types of project can be find online in Moodle

Module Title: Contextual Studies Project (30)

Programme(s) on which the module is delivered: BMus (Hons)

Jewellery)
Credit value: 30
Module Leader: Dr Carrie Churnside
Module finish date(s) during the current academic year: April 29
Presentation (25%)
Essay (75%)
Attendance requirement (pass/fail)

Created By:
Date:

This module aims to involve the student in working autonomously on their own extended
research project – devising it, executing it and presenting the results. Most obviously, then,
it contributes to the delivery of programme aim 6, to develop academic autonomy through
the implementation of appropriate research skills. In developing areas of specialism [aim 8]
and some students may wish to pursue a more substantial project by electing to take this
Contextual Studies Project (Major) option.
All performers and composers need to be able to inform and enhance their own practice
by drawing on appropriate contextual material; this module builds on skills developed in
the Contextual Studies strand in Years 1-3 to provide the student with the tools to be able
to do exactly that. It encourages them to appreciate how such contextual knowledge
(performance practice, historical concepts, analytical processes etc.) enriches their own
practice [aim 5]; in doing so, it clearly helps prepare them for the profession [aim 1]. More
specifically, it gives the student the opportunity to develop specialist knowledge in a
particular area [aim 8]. The module enables students to further develop transferable skills
in project-planning, writing and oral presentation [aim 7], and the experience of working
independently promotes self-reliance and self-responsibility [aim 9]. In being an active
member of the audience for each others’ presentations (e.g. by asking questions of other
students) develop their personal and interpersonal skills [aim 11], and are encouraged to
be open-minded and enquiring about areas of music other than those of particular interest
to them [aim 4].
Indicative content
The precise knowledge-based content of the module is defined by the student.
Skills
 the ability to work autonomously;
 research skills;
 analytical skills;
 oral presentation skills;
 academic writing skills.

This module is studied in both full time mode and part time mode for BMus students. It is
delivered through a small number of large-group lectures, one to one tutorials and small
group seminars. Moodle is used as a medium for the submission of project proposals and
subsequent feedback on them.

1. Demonstrate command of a specific

subject area through the undertaking of Through devising and working on their own
appropriate independent research, project independently, students will engage in
analysis and/or criticism with the use of their own research, analysis and/or criticism, and
appropriate illustration; thus develop a command of their chosen subject
area.
2. Structure material and express ideas
appropriately in oral presentation and in This independent work will be supported by a
writing; small number of lectures (one at the end of
BMus3, two at the start of BMus4 and one
following the end of the presentation
3. Demonstrate presentation skills assessments in Semester 2), and two hours of
appropriate to the medium (i.e. in a tutorial support per student. These will offer
presentation, appropriate use of advice on devising a project, presentation-giving
presentational aids; in an essay, and essay-writing and thus prepare students to
demonstration of good academic achieve all three learning outcomes 1-3.
practice); Attendance at each others’ presentations and
4. Demonstrate corporate and contributing to discussions will allow students to
cooperative skills by participating as an demonstrate their corporate and cooperative
audience member and contributing to skills.
discussions following others’
presentations.

Guided independent learning 95 %
Both assessments require students to devise, plan and undertake a research project which
draws on one or more of the Contextual Studies areas studied in BMus1-3.
Assignment 1: A 20-minute presentation (25%) to be delivered between mid November
and December; final schedule published by the end of October.
This assignment partially assesses learning outcomes 1, 2 and 3
Assessment 2: An essay of 6,000 words (75%)
deadline: Term 3, week1
This assignment completes the assessment of learning outcomes 1, 2 and 3

In addition to the summative assessment, there is also an attendance requirement for this
module.
The attendance requirement corresponds to learning outcome 4. The success of this
module depends on student participation within the presentations: in order to demonstrate
corporate and cooperative skills it is necessary for students to co-operate with and support
each other during the presentation sessions. Students are required to attend the small-
group sessions in which the presentation assessments take place, and will be assigned one
presentation in which they will act as chair, asking the initial question and leading the
discussion. Where attendance falls below 80% (there will usually be 8-9 of these sessions)
this may result in a cap of 40% for the presentation. Students may apply for approved
absences (see Conservatoire Attendance Policy) and approved absences will not count
against students when calculating the overall attendance rate.

Written exams: 0%
Practical exams: 25 %
Coursework: 75 %
Students will be asked to submit an initial project proposal at the start of the academic year
(by the beginning of freshers’ week). They will receive feedback on this (from the module
co-ordinator), designed to help them refine their ideas for their final proposal, which will be
submitted at the end of teaching week 3. This proposal will help determine how students are
grouped for their presentations, and provides a further opportunity for feedback (this time
from the presentation group tutor).
Feedback:
Feedback on the initial and final project proposals will be via Moodle, and may additionally
take place in a face-to-face tutorial.
Feedback on the presentation (assessment 1) will be via Moodle.
Feedback on the essay (assessment 2) will be via Moodle.
The tutorial support offered throughout this module (one hour per student) will give students
an opportunity to discuss and receive verbal feedback on the progress of their research,
presentation and essay preparation.
Related Modules
This module is related to all the Contextual Studies modules of year 1 -3 in that it enables
the student to develop their own academic project based on prior learning in those modules,
and the assessment represents the culmination of the academic writing skills developed in
those modules.

It is also related to the Performing Traditions modules in years 1-3, both in terms of prior
learning and the culmination of the oral presentation skills developed in those modules.
Learning.
It is also related to the Final Recital and Final Portfolio as it is normal for students to study a
topic in this project of direct relevance to their first study work.
Excluded modules: Contextual Studies Project (15)
Learning Resources
BMus4 Contextual Studies Project Moodle area (http://www.moodle.bcu.ac.uk/pme)
Facilities for presentation-giving (including access to data projectors and other standard
technology already installed in lecture rooms or bookable in advance)
Reading/listening resources etc. will vary from one research project to another. Students
will be expected to use their own information retrieval skills, together with suggestions from
their tutor, to construct an appropriate list of sources which will typically include a variety of
texts, editions and recordings.
For assessment criteria, see the Contextual Studies Project (15) criteria above.

Module Title: Contextual Studies Project (15)


Jewellery)
Credit value: 15
Module Leader: Dr Carrie Churnside
Module finish date(s) during the current academic year: April 29
Presentation (25%)
Essay (75%)
Attendance requirement (pass/fail)

Created By:
Date:

This module aims to involve the student in working autonomously on their own extended
research project – devising it, executing it and presenting the results. Most obviously, then,
it contributes to the delivery of programme aim 6, to develop academic autonomy through
the implementation of appropriate research skills.
All performers and composers need to be able to inform and enhance their own practice
by drawing on appropriate contextual material; this module builds on skills developed in
the Contextual Studies strand in Years 1-3 to provide the student with the tools to be able
to do exactly that. It encourages them to appreciate how such contextual knowledge
(performance practice, historical concepts, analytical processes etc.) enriches their own
practice [aim 5]; in doing so, it clearly helps prepare them for the profession [aim 1]. More
specifically, it gives the student the opportunity to develop specialist knowledge in a
particular area [aim 8]. The module enables students to further develop transferable skills
in project-planning, writing and oral presentation [aim 7], and the experience of working
independently promotes self-reliance and self-responsibility [aim 9]. In being an active
member of the audience for each others’ presentations (e.g. by asking questions of other
students) develop their personal and interpersonal skills [aim 11], and are encouraged to
be open-minded and enquiring about areas of music other than those of particular interest
to them [aim 4].
Indicative content
The precise knowledge-based content of the module is defined by the student.
Skills development
 the ability to work autonomously;
 research skills;
 analytical skills;
 oral presentation skills;
 academic writing skills.

This module is studied in both full time mode and part time mode for BMus students. It is
delivered through a small number of large-group lectures, one to one tutorials and small
group seminars. Moodle is used as a medium for the submission of project proposals and
subsequent feedback on them.
1. Demonstrate command of a specific

subject area through the undertaking of Through devising and working on their own
appropriate independent research, project independently, students will engage in
analysis and/or criticism with the use of their own research, analysis and/or criticism, and
appropriate illustration; thus develop a command of their chosen subject
area.
2. Structure material and express ideas
appropriately in oral presentation and in This independent work will be supported by a
writing; small number of lectures (one at the end of
BMus3, two at the start of BMus4 and one

3. Present work appropriately according following the end of the presentation
to the medium (i.e. in a presentation, assessments in Semester 2), and one hour of
appropriate use of presentational aids; tutorial support per student. These will offer
in an essay, demonstration of good advice on devising a project, presentation-giving
academic practice); and essay-writing and thus prepare students to
4. Demonstrate corporate and achieve all three learning outcomes 1-3.
cooperative skills by participating as an
Attendance at each others’ presentations and
audience member and contributing to
contributing to discussions will allow students to
discussions following others’ demonstrate their corporate and cooperative
presentations. skills.

Guided independent learning 92 %
Both assessments require students to devise, plan and undertake a research project which
draws on one or more of the Contextual Studies areas studied in BMus1-3.
Assignment 1: A 20-minute presentation (25%) to be delivered between mid November
and early February; final schedule published by the end of October.
This assignment partially assesses learning outcomes 1, 2 and 3
Assignment 2: An essay of 3,000 words (75%)
deadline: Term 3, week1
This assignment completes the assessment of learning outcomes 1, 2 and 3
In addition to the summative assessment, there is also an attendance requirement for this
module.
The attendance requirement corresponds to learning outcome 4. The success of this
module depends on student participation within the presentations: in order to demonstrate
corporate and cooperative skills it is necessary for students to co-operate with and support
each other during the presentation sessions. Students are required to attend the small-
group sessions in which the presentation assessments take place, and will be assigned one
presentation in which they will act as chair, asking the initial question and leading the
discussion. Where attendance falls below 80% (there will usually be 8-9 of these sessions)
this may result in a cap of 40% for the presentation. Students may apply for approved
absences (see Conservatoire Attendance Policy) and approved absences will not count
against students when calculating the overall attendance rate.

Written exams: 0%

Practical exams: 25 %
Coursework: 75 %
Students will be asked to submit an initial project proposal at the start of the academic year
(by the beginning of freshers’ week). They will receive feedback on this (from the module
co-ordinator), designed to help them refine their ideas for their final proposal, which will be
submitted at the end of teaching week 3. This proposal will help determine how students are
grouped for their presentations, and provides a further opportunity for feedback (this time
from the presentation group tutor).
Feedback:
Feedback on the initial and final project proposals will be via Moodle, and may additionally
take place in a face-to-face tutorial.
Feedback on the presentation (assessment 1) will be via Moodle.
Feedback on the essay (assessment 2) will be via Moodle.
The tutorial support offered throughout this module (one hour per student) will give students
an opportunity to discuss and receive verbal feedback on the progress of their research,
presentation and essay preparation.
Related Modules
This module is related to all the Contextual Studies modules of year 1 -3 in that it enables
the student to develop their own academic project based on prior learning in those modules,
and the assessment represents the culmination of the academic writing skills developed in
those modules.
It is also related to the Performing Traditions modules in years 1-3, both in terms of prior
learning and the culmination of the oral presentation skills developed in those modules.
Learning.
It is also related to the Final Recital and Final Portfolio as it is normal for students to study a
topic in this project of direct relevance to their first study work.
Excluded modules: Contextual Studies Project (30)

Learning Resources
BMus4 Contextual Studies Project Moodle area (http://www.moodle.bcu.ac.uk/pme)
Facilities for presentation-giving (including access to data projectors and other standard
technology already installed in lecture rooms or bookable in advance)
Reading/listening resources etc. will vary from one research project to another. Students
will be expected to use their own information retrieval skills, together with suggestions from
their tutor, to construct an appropriate list of sources which will typically include a variety of
texts, editions and recordings.

Contextual Studies Project Presentation: Assessment Criteria and Grades
Learning demonstrate command of a specific subject area through Structure material and Demonstrate presentation skills appropriate to the
Outcome the undertaking of appropriate independent research, express ideas medium: communicate your research findings orally,
analysis and/or criticism and with the use of appropriate appropriately making appropriate use of presentational aids (e.g.
illustration handouts, OHP slides, powerpoint, score examples,
recorded/live examples)
Fail This presentation demonstrates little or no evidence of There is no evidence The presentation demonstrates very poor
(below engagement with the chosen subject area. There is little that the student knows communication skills: expression consistently
30%) or no evidence of research from appropriate sources. how to structure a interferes with the meaning, and there is no real
Ideas are unsubstantiated, anecdotal and/or over- presentation. attempt to engage with the audience. Presentational
generalized. aids are irrelevant or not used when obviously
required.
Narrow Although there is some attempt to identify and examine Although there is a clear The presentation is inconsistent in terms of its clarity.
fail (30- issues relevant to the chosen subject area, this is not attempt to impose a It is similarly inconsistent in its use of presentational
39%) consistent, and there is a significant amount of irrelevant structure, points do not aids, which are sometimes irrelevant or omitted when
material. There are limited signs of independent always follow in the most obviously required. There is little attempt to engage
research, and the resources used are inappropriate for logical order. with the audience.
the level. Ideas are often unsubstantiated, anecdotal
and/or over-generalized.
40 – 49% The presentation shows some engagement with issues While a clear structure The clarity with which ideas are expressed is
relevant to the chosen subject area, although it is limited may be evident, there acceptable, though not particularly sophisticated. The
in scope. Some relevant research from a range of are sometimes student may be overly reliant on notes, therefore
sources is used to support ideas, although there is room shortcomings in its limiting engagement with the audience.
for a more sophisticated use of the materials. effectiveness. Presentational aids are used, though not always to
their full potential.
50 – 59% The presentation demonstrates a good command of the The presentation is The presentation generally communicates its points
chosen subject area. There is evidence of a good structured in a logical effectively. Any instances where meaning is
amount of research, which is generally used effectively manner that generally ambiguous are minimal, and do not significantly
to support ideas. Use of literature is good although there serves the material well. detract from the whole. Use of presentational aids is
is still room for more attention to detail and/or a more generally good, although there is room for still more
sophisticated use of some of the materials. sophisticated use of them. Some sense of
involvement is conveyed to the audience.
60 – 69% The presentation demonstrates a very good command of The presentation has a The presentation is generally fluent, with very good
the chosen subject area. It demonstrates a very good very good structure that use of presentational aids. There is a very good
attempt to get away from notes and to communicate

level of research, making very good use of literature to allows the argument to with the audience, though there may be scope for
support ideas. flow logically. further improvement in this respect (e.g. less reliance
on notes; more eye contact).
70 – 79% The presentation demonstrates an excellent command of The presentation has an A confident, well-polished presentation which
the chosen subject area, with evidence of detailed excellent structure. demonstrates excellent communication skills, and
knowledge and understanding of the topic. It therefore a real engagement with the topic. There is
demonstrates an excellent level of research going an excellent use of presentational aids. Script/notes
considerably beyond the most obvious or easily are likely to be scarcely evident, except as an aid to
accessible materials and makes excellent use of the memory.
literature to support ideas.
80% and The presentation demonstrates an outstanding The presentation has an An outstanding, exceptional presentation
above command of the chosen subject area, beyond that which effective and elegant demonstrating communication skills beyond that
would normally be expected at this level. It structure. which would normally be expected at this level,
demonstrates an exceptional level of research together together with a mature and sophisticated use of
with a mature and sophisticated use of materials to presentational aids.
support ideas.
Contextual Studies Project Essay: Assessment Criteria and Grades
Learning demonstrate command of a specific subject area through structure material and express ideas in writing present work according to good
Outcome the undertaking of appropriate independent research, academic practice
analysis and/or criticism and with the use of appropriate
illustration
Fail This essay demonstrates little or no evidence of The work demonstrates no evidence that the There is little or no attempt to
(below engagement with the chosen subject area. There is student knows how to structure an essay. reference sources. The essay
30%) little or no evidence of research from appropriate Expression consistently interferes with the demonstrates little or no
sources. Ideas are unsubstantiated, anecdotal and/or meaning, and there are frequent mistakes in understanding of good academic
over-generalized. Examples are irrelevant or are spelling, punctuation and/or grammar. practice.
omitted when obviously required.
Narrow Although there is some attempt to identify issues Although there is a clear attempt to impose a There is a very limited and/or
fail (30- relevant to the chosen subject area, this is not structure, points do not always follow in the inconsistent attempt to reference
39%) consistent, and there is a significant amount of most logical order. Expression is inconsistent sources. The essay
irrelevant material. There are limited signs of in terms of its clarity and there may be signs of demonstrates a very limited
independent research, and the resources used are poor proof-reading understanding of good academic
inappropriate for the level. Ideas are often practice.
unsubstantiated, anecdotal and/or over-generalized.

Examples are sometimes irrelevant or omitted when
obviously required.
40 – 49% The essay shows some engagement with issues While a clear structure may be evident, there There is an acceptable standard
relevant to the chosen subject area, although it is are sometimes shortcomings in its of referencing, but there are
limited in scope. Some relevant research from a range effectiveness. The clarity with which ideas are occasional inconsistencies in this
of sources is used to support ideas, although there is expressed is acceptable, though not and the overall presentation of
room for a more sophisticated use of the materials. particularly sophisticated. There is room for the text.
Examples are used, though not always to their full improvement with proof-reading and/ or
potential. spelling/grammar.
50 – 59% The essay demonstrates a good command of the The essay is structured in a logical manner Referencing, general
chosen subject area. There is evidence of a good that generally serves the material well. It is presentation and the application
amount of research, which is generally used effectively generally well written and proof-read, and of scholarly conventions are very
to support ideas. Use of both the literature and communicates its points effectively. Any good on the whole, although
examples is good although there still is room for more instances where meaning is ambiguous are there may still be some
attention to detail and/or a more sophisticated use of minimal, and do not significantly detract from occasional inconsistencies.
some of the materials. the whole.
60 – 69% The essay demonstrates a very good command of the The essay has a very good structure that All sources are fully and
chosen subject area. It demonstrates a very good level allows the argument to flow logically. Fluent accurately referenced, and
of research, making very good use of the literature and prose with few or no errors in the proofreading. presentation is very good,
examples to support ideas. although there may be minor
areas in which improvement
might still be made.
70 – 79% The essay demonstrates an excellent command of the The essay has an excellent structure, and All sources are fully and
chosen subject area, with evidence of detailed demonstrates an outstanding command of accurately referenced, and
knowledge and understanding of the topic. It written language. presentation is well-polished in
demonstrates an excellent level of research going all respects.
considerably beyond the most obvious or easily
accessible materials and makes excellent use of the
literature and examples to support ideas.
80% and The essay demonstrates an outstanding command of The essay has an effective and elegant Presentation is flawless in all
above the chosen subject area, beyond that which would structure, and is written in a sophisticated respects.
normally be expected at this level. It demonstrates an prose style beyond that which would normally
exceptional level of research, together with a mature be expected at this level.
and sophisticated use of materials to support ideas.

Module Title: Further Specialism


Jewellery)
Credit value: 15
Module Leader: Dr Christopher Dingle
Single Assignment 100%

Created By:
Date:

Central to the programme philosophy is the ideal of the informed musician, one who is
able to employ both advanced skills and knowledge in the advancement of their musical
career. Performers and composers require a variety of specialist skills in order to support
and enhance their professional development and employability as individual practitioners
[aims 1 and 3]. Whether a Contextual or Musicianship specialism is taken, students will be
expected to develop individual skills and will be entitled to an hour of specialist tutorial
support.
In this module, students choose a further specialist area of study beyond those explored in
year 3 [aim 8]. As with the Contextual Studies 3: Specialisms and Musicianship 3:
Specialisms modules, the topics being offered reflect the research enthusiasms of the staff
studying either a specific musicological area or a specialist area of musicianship [aim 5].
Studying a further specialist area develops advanced subject knowledge in areas of music
not previously covered in the programme, including recent or current research [aim 4],
and/or cultivates specific advanced creative applications of one or more musicianship
skills [aims 2 and 3]. and a transferable model of scholarship for further independent study
[aim 6]. Furthermore, the ability to express an individual perspective in writing is an
essential transferable skill [aim 7]. The option of studying a further specialist area
broadens the student’s portfolio of skills and insight. This module therefore builds on the
experience gained in years 1, 2 and 3 and complements the other modules in year 4.
Indicative content
Students take one specialism, lasting a single semester. This cannot be a topic already
studied for the Contextual Studies 3: Specialisms or Musicianship 3: Specialisms modules.
Specialisms offered might include:
 18th Century Symphony

 Analytical Approaches to Music
 British Folk Music
 British Music since 1934
 Chamber Music in the Classical Era
 Composing and Performing Minimal Music
 Conceptual Art/Conceptual Music
 Development of Modern Jazz
 Editorial Techniques
 From Diaghilev to DeGaulle: Paris 1909-1945
 Further Baroque Counterpoint
 Hearing Film: Music in Contemporary Cinema
 Improvising Ornamentation
 Medieval musical thought and practice
 Music Criticism: History and Practice
 Music for Voices
 Music in Society
 New Music Theatre
 Playing by Ear
 The Belle Époque: Paris 1871-1913

 The Symphony after Beethoven
 Towards the goûts-réünis: struggle and synthesis of Italian and French
Baroque styles
 Vocal Close Harmony
 Women in Music
 Analytical Listening

This module is offered in full-time, campus-based mode through tutor-led classes (c. 20-25
students) supplemented by one-to-one support. Classes of this size allow a great level of
interaction, discussion and active modes of learning.

The module as a whole has a single global learning outcome:
Develop individual specialist skills
Individual specialisms therefore have their own learning outcomes, published to students
in the assignment brief, that articulate the specific way(s) in which this global learning
objective is to be achieved in the particular specialism. An indicative example, from the
Music Criticism: History and Practice specialism, is given below.
1. Evaluate a discrete body of reviews

Through medium-sized group lectures students
from an individual perspective
will be introduced to the key historical and
practical issues in criticism and introduced to
research methodologies for examining and
2. Structure material and express ideas evaluating primary source materials.
appropriately Through review assignments, the students will
be introduced to practical issues in criticism.
Through individual research on their chosen
3. Present work according to good
assignment, supported by in-class discussion,
academic practice
students will further evaluate specialist
knowledge from an individual perspective.
Tutorials and essay surgeries are provided to
support generic matters of structure, expression
and presentation of the assignment as well as
deal with specific queries.

The nature of the formal assessment will vary, but might typically include one or more of the
following:
 An essay (or equivalent) of 3000-3500 words

 Portfolio of work
 Individual performance within defined parameters
 Group performance within defined parameters
 Presentation in class
Assignment First attempt

If your specialism assignment involves a practical task, this will
normally be scheduled by arrangement with your specialism
tutor in January/ early February (semester 1 specialisms) or
May (Semester 2 specialisms)
If your specialism assignment involves written/ notated
coursework, the deadline for the assessment is 23 January
2015 (semester 1 specialisms) or 8 May 2015 (semester 2
specialisms).
Coursework (handwritten/ notated work) should be submitted
to the Admin Centre with a coversheet by 3pm on that date; or
in Moodle (essays) by 11.55pm.
Feedback and provisional marks will be published in Moodle
by 27 February 2015 (semester 1) or June 17 (semester 2).
[Note: the pattern if teaching in term 2 and the examinations
period schedule in May/ June means that marks and feedback
for this assignment cannot be returned within 20 working days]
Resit attempt
module, practical tasks will be reassessed during the period 7-
10 September 2015. The resit deadline for coursework is 19
August 2015.
Coursework (handwritten/ notated work) should be submitted
to the Admin Centre with a coversheet by 3pm on that date; or
in Moodle (essays) by 11.55pm.
Support for students retaking this assessment is available in
Moodle and from the module tutors. Please make an
appointment to see your specialism tutor in the first instance.


This will vary according to the Specialism taken. The figure given below is for the illustrative
examples (Music Criticism: History and Practice).
Written exams: 0%
Practical exams: 0%
Coursework: 100%
These will vary. For Music Criticism: History and Practice they will involve:
Individual survey of one week’s music coverage in a newspaper

Writing a review of a CBSO concert
Writing a review of a (yet-to-be-released) CD (provided by the tutor)
Digital newspaper archive search
Feedback:
Formative assessments
Verbal feedback in class, often supported by tutorials; written feedback via Moodle.
Summative Assessment
Written feedback
Related Modules
Contextual Studies 3: Specialisms

Musicianship 3: Specialisms
N.B. Students may not choose a specialism already studied in year 3. A Musicianship-
based Further Specialism option can only be chosen where EITHER the student is taking at
least one other optional module [Further Pedagogy, Contextual Studies Project or
Professional Development Project] OR can demonstrate that the work for the Final Project
explores skills significantly beyond practical musicianship.
Learning Resources
These will vary according to specialism. The following list of resources is intended as a
typical example.
Music Criticism: History and Practice

Music Criticism: History and Practice Moodle area, http://www.moodle.bcu.ac.uk/pme/
Conservatoire Library Printed and Recorded Music catalogue

BCU Library Electronic Resources:
 19th Century British Library Newspapers
 Burney Newspaper Collection (1600-1800)
 Nexis UK
 Times Digital Archive
Books: Amis, John (1985), Amiscellany: My Life, My Music, London: Faber & Faber.
Amis, John (2006), My Music in London: 1945-2000, London: Amiscellany Books.
Aprahamian, Felix (ed.) (1967), Essays on Music: an anthology from ‘The Listener’, London:
Cassell.
Barthes, Roland (1977), Image-Music-Text. Essays selected and Translated by Stephen
Heath, Glasgow: Fonatan/Collins.
Beardsley, Monroe C. (1981), Aesthetics: Problems in the Philosophy of Criticism, 2nd
edition, Indianapolis: Hacket. 1st edn 1958.
Berlioz, Hector (2000), A Critical Study of Beethoven’s Nine Symphonies, Edwin Evans
(trans.), Intro. by D. Kern Holoman, Urbana and Chicago: University of Illinois Press.
1st pub
Berlioz, Hector (1956), Evenings with the orchestra, trans. & ed. Jacques Barzun, New York:
Knopf.
Berlioz, Hector (2003), The Musical Madhouse, trans. & ed. Alastair Bruce, Rochester, NY:
University of Rochester Press.
Boyd, Morrison Comegys (1967), Elizabethan Music and Musical Criticism, 2nd edition,
Philadelphia: University of Pennsylvania Press. 1st published 1940 (1st edn), 1962
(2nd edn).
Cardus, Neville (1947), Autobiography, London: Collins. 1st published 1947.
Cardus, Neville (1990), Cardus on Music: A Centenary Collection, Donald Wright (ed.),
London: Cardinal. 1st pub. 1988.
Chorley, Henry F. (1926), Thirty Years’ Musical Recollections, Ernest Newman (ed. &
introduction), London: Alfred A. Knopf.
Craft, Robert (1974) Prejudices in Disguise: Articles, Essays, Reviews, New York: Alfred A.
Knopf.
Craft, Robert (1984) Present Perspectives: Critical Writings, New York: Alfred A. Knopf.
Daniels, Robin (1976), Conversations with Cardus, London: Victor Gollancz.
Downes, Olin (1957), Olin Downes on Music, Irene Downes (ed.), New York: Simon and
Schuster.
Edwards, Stewart Hylton (1984), Critics and Composers: Selected Articles, Lectures and
Radio Talks, New York: Vantage Press.
Ellis, Katherine (1995), Music Criticism in Nineteenth-Century France, Cambridge:
Cambridge University Press.
Ewen, David (ed.) (1933), From Bach to Stravinsky: The History of Music by its Foremost
Critics, New York: W. W. Norton & Company.
Fenner, Theodore (1994), Opera in London: Views of the Press 1785-1830, Carbondale and
Edwardsville: Southern Illinois University Press.
Graf, Max (1971), Composer and Critic: Two hundred years of music criticism, New York: W.
W. Norton & Company. 1st published 1946.
Grant, Mark N. (1998), Maestros of the Pen: A History of Classical Music Criticism in
America, Boston: Northeastern University Press.
Hadow, W. H. (1895), Studies in Modern Music: Hector Berlioz, Robert Schumann, Richard
Wagner, 2nd edn, London: Seeley and Co.
Hanslick, Eduard (1957), THe Beautiful in Music, Gustav Cohen (trans.), Morris Weitz (ed.
and introduction), New York: The Liberal Arts Press. 1st published 1854.
Hanslick, Eduard (1963), Music Criticisms 1846-99, Henry Pleasants (trans. & ed.), London:
Penguin. 1st published 1950.

Haskell, Harry (ed.) (1996), The Attentive Listener: Three Centuries of Music Criticism,
Princeton: Princeton University Press.
Keller, Hans (1987), Criticism, Julian Hogg (ed. & introduction), London: Faber and Faber.
Langford, Samuel (1929), Musical Criticisms, Neville Cardus (ed.), London: Oxford
University Press.
Newman, Ernest (1976a), Essays from the World of Music, volume 1, selected by Felix
Aprahamian, London: John Calder. 1st published 1956.
Newman, Ernest (1976b), More Essays from the World of Music, volume 2, selected by Felix
Aprahamian, London: John Calder. 1st published 1958.
Porter, Andrew (1978), Music of Three Seasons 1974 – 1977, New York: Farrar Straus
Giroux.
Porter, Andrew (1981), Music of Three More Seasons 1977 – 1980, New York: Alfred A.
Knopf.
Pound, Ezra (1978), Ezra Pound and Music: The Complete Criticism, R. Murray Schafer (ed.
& commentary), London: Faber and Faber.
Reid, Charles (1984), The Music Monster: A Biography of James William Davison, Music
Critic of The Times of London, 1846-78, London: Quartet Books.
Rosen, Charles (1998), Romantic Poets, Critics, and Other Madmen, Cambridge,
Massachusetts: Harvard University Press.
Schumann, Robert (n.d.), Music and Musicians: Essays and Criticisms. First Series, Fanny
Raymond Ritter (trans., ed. and annotations). 7th edition. London: William Reeves. 1st
edition published no earlier than 1876 (date of introduction).
Shaw, Bernard (1960), How to become a Musical Critic, Dan H, Laurence (ed.), London:
Rupert Hart-Davis.
Shaw, Bernard (1949), Sixteen Self Sketches, London: Constable and Company.
Sullivan, Jack (ed.) (1990), Words on Music, from Addison to Barzun, Ohio University Press.
Thommasini, Anthony (1997), Virgil Thomson: Composer on the Aisle, New York: W. W.
Norton & Company.
Thompson, Oscar (1979), Practical Musical Criticism, with new introduction by Irving
Lowens, New York: Da Capo Press. 1st pub. 1934.
Thomson, Virgil (1968), The Art of Judging Music, Westport, Connecticut: Greenwood Press.
1st pub. ?1948.
Wolf, Hugo (1979), The Music Criticism of Hugo Wolf, Henry Pleasants (trans., ed. and
annotations), London: Holmes and Meier.
Assessment criteria relevant to individual specialisms are published in Moodle

Module Title: Further Pedagogy


Jewellery)
Credit value: 15
Module Leader: Luan Shaw
Module finish date(s) during the current academic year: March 27
Viva Voce (100%)

Created By:
Date:

The programme’s primary aim, central to its philosophy, is to equip students for a career in
the music profession. The Further Pedagogy module aims to provide students with an
opportunity to build on the introduction to pedagogy in the Professional Portfolio 3 for
BMus students and the Art of Teaching module for BMus Jazz students; and to both gain
insight into professional music teaching and make contacts in the local music service.
Many Conservatoire graduates will teach as part of their professional life, and having
studied the pedagogical aspects of their first-study discipline in year 3, this module
continues that area as an important aspect of preparing those that see teaching as more
central to their post-graduation plans for the profession [aim 1]. This equips them with
additional skills of not only pedagogy but reflection, evaluation and which are likely to
prove useful in their future careers [aim 10].
Indicative content
Pedagogy in theory and practice

Music Service training day
Observation of professional practice
Teaching skills
Communication skills
Reflection and evaluation skills
NB: students taking this module will need to be CRB checked.

This module combines campus base lectures and off-site activity. Students will participate
in a local Music Service training event and will subsequently observe a teaching session/
event (e.g. Wider Opportunities delivery).
1. demonstrate a secure knowledge of Pedagogy classes/ lectures will introduce and

current teaching practice associated develop topics and themes in current teaching
with the student’s first study practice, and address relevant published
literature in the area.
2. apply knowledge of current teaching
practice to the explanation and Attendance at a Birmingham Music Service
demonstration of technical and creative INSET day will introduce students to the
concepts professional setting for enhancing teaching
3. reflect on observed lessons in practice.
relation to the student’s own experience
as a learner, observer and teacher A day of observation with a BMS tutor will allow
students to develop further insight into current

4. draw critically on relevant published teaching practice and give them the opportunity
research for discussion with a professional music
teacher.
A plenary session following the BMS

experience will allow student to begin the
process of reflecting and evaluating the
experience, before continuing individually in the
pre-viva report

A viva voce examination of 20- 30 minutes (100%) on a) the student’s experience with the
Music Service; and b) a discussion and demonstration of pedagogical practice. This
assignment tests all the learning outcomes.
Students will write up their notes on the INSET day with the music service and observation
sessions. These should be submitted to the tutor in advance of the viva and will form the
basis for part of the discussion. These notes do not generate a specific mark.

Written exams: 0%
Practical exams: 100%
Coursework: 0%
There is no formal formative assessment on this module although students will receive
verbal feedback in classes.
Feedback:
Students will receive written feedback on the viva.
Related Modules
BMus Students must pass the pedagogy element of Professional Portfolio 3 to be eligible
for this module. Due to the set number of available places at the Music Service training day,

marks from the pedagogy assessment in year 3 will be taken into account when allocating
places on this module.
Learning Resources
The resources required by each student will vary; the following is intended as a starting point
and is by no means exhaustive. Students should also consult journals – e.g. British
Journal of Music Education, Music Education Research, Psychology of Music, The
Journal of Aesthetic Education, Music Teacher, Libretto – as well as publications by
organizations concerned with teaching of specific instruments (e.g. EPTA and ESTA).
Other resources, including links to websites, will be available in Moodle at
http://moodle.bcu.ac.uk/pme.
General bibliography
A Common Approach 2002 – An Instrumental and Vocal Curriculum. London: Faber
Bamberger, J.S. (1991) The Mind Behind the Musical Ear: How Children Develop Musical
Intelligence. Cambridge, MA: Harvard University Press
Coll, H. and J. Finney (2007) Ways Into Music – Making Every Child's Music Matter.
Matlock: NAME
Coll, H. and A. Lamont (eds) (2009) Sound Progress: Exploring Music Development.
Matlock: NAME
Entwhistle, N. (1989) Styles of Learning and Teaching. London: David Fulton
Fautley, M. (2010) Assessment in Music Education. Oxford: OUP
Fontana, D. (1995) Psychology for Teachers. London: Macmillan
Gane, P. (2006) Making Music – Creative Ideas for Instrumental Teachers. Oxford: OUP
Green, B. (1987) The Inner Game of Music. London: Pan
Grindea, C. (1995) Tensions in the Performance of Music. London: Kahn & Averill
Hallam, S. (1998) Instrumental Teaching: A Practical Guide to Better Teaching and
Learning. Oxford: Heinemann
Hallam, S. And Creech. A (2010) (eds) Music Education in the 21st Century in the United
Kingdom: Achievements, analysis and aspirations. Institute of Education, University of
London
Harris, P. (2006) Improve Your Teaching. London: Faber
Harris, P. (2008) Improve Your Teaching – Teaching Beginners. London: Faber
Harris, P. and Crozier, R. (2000) The Music Teacher’s Companion. London: ABRSM
Harris, P. and Davies, L. (2009) Group Music Teaching in Practice. London: Faber
Johnston, P. (2002) The Practice Revolution. Australia: Practicespot Press
Jones, K. (2000) Keeping Your Nerve. London: Faber
Mackworth-Young, L. (2000) Tuning In – Practical Psychology for Musicians who are
Teaching, Learning and Performing. Swaffham: MMM Publications
Marks, A. (ed.) (2004) All Together! Teaching Music in Groups. London: ABRSM
McPherson, G. (ed.) (2006) The Child as Musician – A Handbook of Musical Development.
Oxford: OUP
Miles, T.R., J. Westcombe and D. Ditchfield (eds.) (2008) Music and Dyslexia – A Positive
Approach. London: Whurr Publishers
Mills, J. (2007) Instrumental Teaching. Oxford: OUP
Nelson, S. (1993) Beginners Please, second edition. London: Boosey and Hawkes
O’Connor, J. (1987) Not Pulling Strings: A Book about Instrumental Teaching and Music
Education. London: Kahn & Averill
Sheppard, P. (2008) Music Makes Your Child Smarter: How Music Helps Every Child’s
Development, 2nd edition, Shirmer G Books
Sloboda, J. (1985) The Musical Mind. The Cognitive Psychology of Music. Oxford:OUP
Stringer, M. (ed.) (2005) The Music Teachers’ Handbook. London: Faber
Suzuki, S. (1981) Ability Development from Age Zero. Warner Bros Publications inc.

Williamon, A. (1994) Musical Excellence – Strategies and Techniques to Enhance
Performance. Oxford: OUP
Wood, D. (1998) How Children Think and Learn, second edition. Oxford: Blackwell
Instrument-specific
Agay, D. (2004) The Art of Teaching Piano. London: Omnibus Press
Baldy, C. (2010) The Student Voice: An Introduction to Developing the Singing Voice.
Edinburgh: Dunedin Academic Press
Bell, K. (1992) A Woodwind Teacher’s Flute Handbook. Luton: Studio Music Co.
Campos, F.G. (2005) Trumpet Technique. New York: OUP
Chapman, J. L. (2005) Singing and Teaching Singing: A Holistic Approach to Classical
Voice. Abingdon: Plural Publishing
Cousins, F. (1992) On Playing the Horn, second edition. Chapel-en-le-Frith: Caron
Publications
Farkas, P. (1989) The Art of Brass Playing. Rochester, New York: Wind Music
Hall, M. and N. Kelsey (2005) Teaching Kids Recorder. Bloomington, Indiana: iUniverse
Harrison, S. (1982) The Young Person’s Guide to Playing the Piano. London: Faber
Harvey, P. (1998) Saxophone. Yehudi Menuhin Music Guides. London: Kahn and Averill
Hunt, S. (1993) Flute Teaching. London: Pan
Last, J. (1985) The Young Pianist: An Approach for Teachers and Students. Oxford: OUP
Lawson, C. (1995) The Cambridge Companion to the Clarinet. Cambridge: CUP
Lyke, J., Y. Enoch and G. Haydon (1996) Creative Piano Teaching. London: Stipes
Publishing
Morris, G. (1991) Flute Technique. Oxford: OUP
O’Kelly, E. (1990) The Recorder Today. Cambridge: CUP
Quine, H. (1990) Guitar Technique – Intermediate to Advanced. Oxford: OUP
Rehfeldt, P. (1988) Playing Woodwind Instruments: A Guide for Teachers, Performers and
Composers. Illinois: Waveland Press
Ridgeon, J. (2000) The Physiology of Brass Playing. Oakham: Brass Wind Publications
Rolland, P. (1986) The Teaching of Action in String Playing. London: Boosey and Hawkes
Rush, M. (2006) Basic Violin Pedagogy (or new edition - Playing the Violin) London:
Routledge
Schaefferdiek, M. (2009) Foundations of Oboe Playing. Warngau: Accolade
Snell, H. (2005) The Trumpet: Its Practice and Performance. Brighton: Pen Press
Publishers.
Steenstrup, K. (2007) Teaching Brass, second edition. London: Royal Academy of Music
Stimpson, M. (1988) The Guitar, A Guide for Students and Teachers. Oxford: OUP
Stowell, R. (1992) The Cambridge Companion to the Violin. Cambridge: CUP
Stowell, R. (ed.) (1999) The Cambridge Companion to the Cello. Cambridge: CUP
Waterhouse, W. (2006) Bassoon (Yehudi Menuhin Music Guides). London: Kahn & Averill
Weston, P. (1982) The Clarinetist’s Companion. Corby: Fentone Music Ltd.
Wick, D. (1984) Trombone Technique, second edition. Oxford:

Further pedagogy marking criteria
Learning Demonstrate a secure Apply knowledge of current Reflect on observed lessons in Draw critically on relevant published
Outcome knowledge of current teaching teaching practice to the relation to the student’s own research
practice associated with the explanation and demonstration experience as a learner, observer and
student’s first study of technical and creative teacher
concepts
Fail (below Completely unaware of current A distinct lack of ability to explain There is no understanding of lesson No evidence of engagement with
30%) teaching practice and its or demonstrate technical matters aims and objectives, or any attempt to relevant literature (journal
relevance to the first study with a poor grasp of creative relate observations to the students own articles/books/websites).
instrument/voice. teaching strategies. experience.
Narrow fail There is little awareness of Limited ability to explain or There is little understanding of lesson Little evidence of engagement with
(30-39%) current teaching practice and its demonstrate technical matters aims and objectives, and a limited relevant literature (journal
relevance to the first study with an inadequate grasp of attempt to relate observations to the articles/books/websites).
instrument/voice. creative teaching strategies. student’s own experience.
40 – 49% Some awareness of current Some ability to explain or There is some understanding of lesson Some evidence of engagement with
teaching practice is shown, with demonstrate technical matters aims and objectives and a reasonable relevant literature (journal
some understanding of its with basic recognition of creative attempt to relate observations to the articles/books/websites) although ability
relevance to the first study teaching strategies. student’s own experience. to think critically about this is limited.
instrument/voice.
50 – 59% Evidently aware of current Clear ability to explain or There is a good understanding of lesson Evidence of engagement with a range of
teaching practice with a good demonstrate technical matters aims and objectives and a clear attempt literature (journal
understanding of its relevance to with obvious recognition of to relate observations to the students articles/books/websites) and some
the first study instrument/voice. creative teaching strategies. own experience. evidence of critical thinking.
60 – 69% Evidently familiar with current Informative explanation and There is a very good understanding of Evidently familiar with a range of
teaching practice with a very demonstration of technical matters lesson aims and objectives and the relevant literature (journal
good understanding of its with perceptive recognition of student’s experiences are strongly articles/books/websites) with a good
relevance to the first study creative teaching strategies. related to observations through sense of critical engagement.
instrument/voice. enthusiastic discussion.
70 – 79% Very familiar with current Wholly convincing explanation There is an excellent understanding of Very familiar with a range of relevant
teaching practice with an and demonstration of technical lesson aims and objectives and the literature (journal
excellent understanding of its matters with skilful integration of student’s experiences are strongly articles/books/websites) and showing
relevance to the first study creative teaching strategies. related to observations through mature clear critical insight.
instrument/voice. and insightful discussion, with some
originality.
80% and Demonstrates a thorough Highly proficient explanation, Exhibits an impressively high level of Demonstrates a thoroughly evaluative
above knowledge and understanding of demonstration and integration of self-awareness, and where appropriate, and critical approach to a wide range of
current teaching practice and technical matters and creative alternative strategies/points of view are literature (journal
pedagogical matters. teaching strategies. Discussion persuasively expressed. articles/books/websites).
exudes flair and originality.

Module Title: Professional Development Project

Module Code: MUS6039 Level: 6

Jewellery)
Credit value: 15
Module Leader: Chris Marshall
Module finish date(s) during the current academic year: March 27
1. Career Plan (25%)
2. Portfolio (75%)

Created By:
Date:

The primary aim of the programme is to help equip students for a career in the music
profession as performers or composers. This module aims to focus the student’s thoughts
on their goals and aspirations after graduation, and to enable them to understand and
develop the relationship between both the work of their final year modules and their extra-
curriculum musical activities in developing a coherent and realistic career development
plan. The module therefore seeks to guide students in their career aspirations and enable
them to identify and develop the skills necessary to realise their objectives [aim 7]; to
promote self-reliance and responsibility for personal and professional development [aim 9];
to provide an ongoing opportunity for professional development, encouraging self-
reflection and the acquisition of additional skills useful in a future career in the profession
[aim 10]; as well as focusing on and developing those areas of specialism that will inform
their future career plans [aim 8].
Indicative content
Topics
cv creation, job applications and interview technique
funding applications and bids
brochure and website design
using social media
agencies and personal management
recording, publishing and copyright
self employment and tax
Project types (examples)

Becoming a music teacher
Launching a business
Working as a freelance performer
Working for a music service
Working in arts administration (internship project)
Preparing for postgraduate study

This module can be studied in either full time or part time mode. The module is delivered in
through workshops, lectures and tutorials, supplemented by materials in Moodle. For part
time students, this module can be taken in either year of the part time programme.
1. Devise a coherent and realistic Workshop discussion, feedback on formative

career development plan work and tutorial advice contribute towards the
student’s development of a career development
2. Demonstrate professional skills and plan.
knowledge in relation to the chosen
career path

3. Promote yourself with self- Lectures and workshops provide opportunities
confidence and awareness through the for students to explore the requirements of
development of appropriate materials. different career paths, and demonstrate
effective use of electronic media and other
materials.


1. Career plan (25%) to be submitted at the end of the second semester. This tests learning
outcome 1.
2. Portfolio of materials developing professional skills and knowledge (75%) to be submitted
at the end of the second semester. This tests learning outcomes 2 and 3.

Written exams: 0%
Practical exams: 0%
Coursework: 100%
Formative assessments
Students submit a draft career plan (which includes the list of the items to be included in the
final portfolio) at the end of term 1 for this module. In the light of feedback, they will revise
and refine this plan and the agreed portfolio contents during term 2. The final version of the
career plan is an item of summative assessment.
Feedback:
Students receive written feedback on the draft career plan within Moodle at the end of
semester 1 and verbal feedback during tutorials and workshops
Students receive written feedback on both items of summative assessment.
Related Modules
This module follows on from Professional Portfolio 3 in relation to students’ career
development planning. It is holistically linked to all the student’s final year modules in
preparing them students for life and work after graduation.
Learning Resources
Professional Development area Moodle area at http://www.moodle.bcu.ac.uk/pme
Central PDP Moodle area at http://www.moodle.bcu.ac.uk/
Navigating Music Careers at http://www.owlnet.rice.edu/~navmusic/

Professional Development Marking Criteria
Learning Promote him/herself with self- Demonstrate acquisition of
Outcome awareness and confidence professional skills
Fail Material is inappropriate and Little or no knowledge-base or familiarity
(below presentation is very poor. There are with any professional resources. No
30%) many errors of spelling and grammar. evidence of those professional skills that
The artefact(s) are in no way could support a career
commensurate with an acceptable
professional standard.
Narrow Material is not factually consistent and Lacking an adequate knowledge-base
fail (30- presentation is poor. There are several and familiarity with many professional
39%) errors of spelling and grammar. The resources. Little evidence that
artefact(s) are below a minimum professional skills could support a career.
acceptable professional standard.
40 – 49% Material is factually consistent and Demonstrates an adequate knowledge-
adequately presented. Spelling and base and some familiarity with a range of
grammar are generally correct. The professional resources. Evidence that
artefact(s) are at a minimum professional skills could support a career.
acceptable professional standard but
lacking compelling qualities.
50 – 59% Material is factually consistent and well Demonstrates a good knowledge-base
presented. Spelling and grammar are and familiarity with a range of professional
correct. The artefact(s) demonstrate an resources. Evidence that professional
understanding of the requirements for skills could support a career.
professional materials of this type.
60 – 69% Material and presentation are good. Thorough understanding of those skills
The writing and images communicate required to support a successful
imaginatively, and the artefacts are of a professional career, demonstrating a
good professional standard. knowledge of a wide range of professional
resources.
70 – 79% Material and presentation are very Thorough understanding of the
good. The writing and images are importance of the skills required to
compelling, and the artefacts are of a support a successful professional career,
very good professional standard, demonstrating a knowledge of a wide
demonstrating a flair for communication range of professional resources, acquired
and design. through individual research.
80% and Work which matches or exceeds the Demonstrating an originality of approach,
above best professional materials currently and a profound understanding of the skills
available. The writing and images are needed to support a very successful
compelling, demonstrating exceptional professional career. Skills and resources
flair for communication and design. range beyond those normally expected in
work of this kind.

Arts, Design and Media Birmingham Conservatoire Bmus (Hons)

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Arts, Design and Media

Faculty: PME School/Department: Conservatoire

Module Title: Final Recital (45)

Date of publication of template to students:

Module Code: MUS6017 Level 6

Where necessary, agreed abbreviated

ECTS Credit value: 22.5

Module Leader: Paul Bamborough

Module start date(s) during the current academic year: September 29

Module finish date(s) during the current academic year: June 5

For SRS Team Use Only:

BMus (Hons) 4 Modules2

Study mode / delivery method(s):

Intended Learning Outcomes:

Learning outcomes: Learning and Teaching methods

1. prepare a programme appropriate to a

BMus (Hons) 4 Modules3

Assessment and Feedback:

A Recital (100%) of approximately 40 minutes (maximum 45 minutes)

Assessment task information

At the first assessment attempt, the full range of marks is available.

Breakdown of summative assessment methods:

BMus (Hons) 4 Modules4

BMus (Hons) 4 Modules5

BMus (Hons) 4 Modules6

Faculty: PME School/Department: Conservatoire

Module Title: Final Recital (30)

Date of publication of template to students:

Module Code: MUS6051 Level 6

Where necessary, agreed abbreviated

ECTS Credit value: 15

Module Leader: David Purser

Module start date(s) during the current academic year: September 29

Module finish date(s) during the current academic year: June5

For SRS Team Use Only:

7 Pro-forma issued January 2009

Study mode / delivery method(s):

Intended Learning Outcomes:

Learning outcomes: Learning and Teaching methods

1. prepare and present a programme

8 Pro-forma issued January 2009

Assessment and Feedback:

Assessment task information

At the first assessment attempt, the full range of marks is available.

Breakdown of summative assessment methods:

9 Pro-forma issued January 2009

Prerequisite module: First Study: Performance 3

1 Pro-forma issued January 2009

Faculty: PME School/Department: Conservatoire

Module Title: Final Recital (60)

Date of publication of template to students:

Module Code: MUS6052 Level 6

Where necessary, agreed abbreviated

ECTS Credit value: 30

Module Leader: David Purser

Module start date(s) during the current academic year: September 29

Module finish date(s) during the current academic year: June 5

For SRS Team Use Only:

Study mode / delivery method(s):

Intended Learning Outcomes:

Learning outcomes: Learning and Teaching methods

1. prepare and present a programme

Assessment and Feedback: