form b - uwl.ac.uk...jacs code other . 5. professional, statutory and regulatory body accreditation...

FORM B

Form B – Course Specification Template – Mar 17 of 26

Course Specification Please refer to the Guidance for the Completion of Course Approval Documentation and the QAA UK Quality Code for Higher Education Part A: Setting and Maintaining Academic Standards: Chapter A3 - Securing Academic Standards and an Outcomes-Based Approach to Academic Awards: http://www.qaa.ac.uk/assuring-standards-and-quality/the-quality-code/quality-code-part-a

Name of the final enrollable award(s): (e.g. FdA / FdSc / BA (Hons) / BSc (Hons) / MSc)

BA (Hons)

Course title: e.g. (Digital Media Arts) Music Technology - Audio Post Production

Level: 6 Credits: 360

Exit awards, level and credits: (where applicable)

Level 4 – 120 credits - Certificate of Higher Education in Music Technology - Audio Post Production Level 5 – 240 credits - Diploma of Higher Education in Music Technology - Audio Post Production Level 6 – 300 credits – BA Music Technology - Audio Post Production Level 6 – 360 credits – BA (Hons) Music Technology - Audio Post Production

If a Higher or Degree Apprenticeship, state the standard it will map to

School: London College of Music

Subject: Music Technology

Academic Partners: Note: Approval for an Academic Partner to deliver a Course requires an additional approval event.

None for this course

Document version: 3.0

Date document completed: 10 May 2017

Document completed by: John Gummery

http://www.qaa.ac.uk/assuring-standards-and-quality/the-quality-code/quality-code-part-a


1. Awarding body/Institution

University of West London

2. Teaching institution

University of West London

3. Admissions criteria

112-128 UCAS tariff points at Level 3, which would normally include at least two relevant subject areas, plus GCSE English and Maths at grade C or above. IB Points: 29. BTEC National Diploma: Merit, Merit, Merit Access: Pass

IELTS Score for International Students (including the minimum score in all elements)

6.0 in all areas

4. Codes

UCAS Code A 370W

UCAS Code B

JACS Code

Other

5. Professional, Statutory and Regulatory Body accreditation (if applicable) None

6. Career and progression opportunities and employability skills

Graduates can be found working successfully in a diverse range of careers within the creative industries. They have worked with many prominent artists, producers and companies including: Trevor Horn, Peter Gabriel, Norsk Films, Limitless Music, Lady Gaga, U2, Blondie, Air Mastering, MagMasters Studios, Morphonic Production Company, BBC, Sony, EA Games, Bloc Party, The London Synthesis Orchestra, Alicia Keys, Dave Stewart, Nile Rogers, Avid, RCM, Warner Brothers and more. Typical roles have ranged through: studio engineer, live sound engineer, post production engineer, sound design, surround sound design, recording artist, studio manager, company


director, product developer, product demonstrator, producer, composer, re-mixer, teaching at all levels, venue manager and roles within the television, radio, video, film and computer games industries. The course will also provide a progression route to postgraduate study on the following courses at the University:

• MA Record Production • MA Advanced Music Technology • MA Music Industry Management and Artist Development • MMus Electronic Music Composition

7. Location of delivery

St Mary’s Road Brentford Reading

Partner

Include address of partner delivery site:

8. Mode of delivery

(Copy and paste this symbol - into all the following that apply)

Full time Part time Part time intensive Work-based element of learning*

Distance Learning With Placement Year Other

If other, please specify:

*Work-based learning - if the course includes work-based learning elements, please specify below:

a. Is employment in a particular work role necessary to complete assessments? b. Are work placements an essential part of the course? (Examples of work experience and

employer engagement are requested in section 27)

None included in this programme

9. Planned course duration (number of years) (Higher and Degree Apprenticeships have a minimum duration 1 year and 1 day.)

Full Time Full Time with Placement Year

Part Time Part Time with Placement Year


10. Sequencing within the academic calendar (Copy and paste this symbol - ) September only start February only start September and February start

Other If other, please specify:

11. First date of delivery of the course (month and year) September 2015

12. Language of study

English

13. Formalised Links with External Organisations/Industrial Partners

LCM Exams British Academy of Songwriters, Composers and Authors (BASCA) Music Managers Forum Performing Rights Society Musicians Union Questors Theatre Wartermans Arts Centre Ealing Town Hall St Barnabus Church Art of Record Production Conference Apple Computers Native Instruments Academia Software Solutions Studiospares Focusrite Blast Media W5 Productions UWL Students Union Reading Room, Ealing BIMM London Deutsche Pop – Berlin, Cologne & Vienna Range of local music venues Dexibell keyboards


14. Student support arrangements, including ‘In-Company’ support for Apprenticeships

Undergraduate courses Throughout their course of study, each student will have access to a variety of sources of support depending on individual circumstances and needs. Apart from the University-wide support framework, which encompasses the Course Leaders, the Module Leaders, the Personal Tutors, in-course learning skills development and Personal Development Planning (PDP), all students will have at their disposal a variety of different support systems which depend on the nature of the course. Student advice, help and support is further detailed in the Student Handbook with regard to University facilities, services and current policies: http://www.uwl.ac.uk/students/current-students/student-handbook . The following support services are available for students: Careers and Employment Services Student Advice Disability and Mental Health Advice Information and Funding Team Accommodation Service Chaplaincy Counselling Students’ Union Mentoring The development of learning skills includes processes and activities such as critical appraisal, reflection, literature searching, information technology, peer review, group work, presentation, research, practice/professional skills, note-taking, writing skills, electronic information retrieval, communication skills and independent study at home. These skills will be an integral part of learning courses. Students are expected to participate in an induction. This will introduce them to the requirements of their course of study and will provide an opportunity to receive all the relevant course documentation, visit the Library and meet and discuss requirements and expectations of their planned learning experience with the course team. Further Course-specific information: Students have weekly access to the following staff, personal tutors, module tutors and Course Leader in the school office PK.01.006. There is also a ‘self-help’ section on the course space in Blackboard. Studio work: Students are inducted into the LCM studios at the start of the course. They have in depth exposure to the health and safety considerations and safe working practices. Practical help in the studios and labs is provided by the technician/demonstrators, which can be pre-booked for sessions.

15. Aims of the course The BA Hons) Music Technology – Audio Post Production course engages students in the creative application of technology. It focuses entirely on music technology, in its many guises, and

http://www.uwl.ac.uk/students/current-students/student-handbook


the music, audio, media production and recording industries. The course aims to provide the skills that the industry requires, along with the theory and techniques essential to the creation of music and audio to a professional standard. The focus of the course is to ensure the acquisition and development of skills that are appropriate to contemporary sound and music pre- and post-production. Students will engage in the practical application of sophisticated audio technology from a creative and theoretically informed base. On completion of the course, students will be expected to fully understand, and be able to operate and control complex and demanding recording sessions in high performance audio environments. Through the named routes students will develop specific vocational skills and knowledge. They will also be able to network with a wide range of students through the core modules, common to all routes. Students will have an opportunity reflect on and develop entrepreneurial and business skills as well as researching links with the global music industry. Students will also be: A creative and enterprising professional

• Aware of global marketing opportunities and developments enhanced through the use of technology.

• Seeking any potential networking opportunities as they arise A reflective and critical individual

• Aware of their own responsibility in a global and local context • Seeking feedback from a broad community on ideas and projects • Aware of human rights

A globally literate citizen • Aware of global issues and how they impact on the music industry • Aware of ethical issues in business and when working with people • Designing and engaging in projects that could benefit the wider community • Aware of cultural diversity and its implications for music

16. Content of the course by level (UG)/stage (PG)

This is a three-year modular program where the course focuses on engaging students in the creative use of contemporary music technology systems. It builds their practical skills, listening skills and creative skills through each level. They start at level 4 working in supportive groups and progress to independently control and manage complex productions at level 6. Students will develop an informed technical understanding of how a wide range of platforms and music production systems work and how they are used in the production of today’s music. The course is for those who are interested in working with audio and music technology but also includes a range of essential modules in broader vocationally related areas. Level 4

• Contemporary Production Studies • Creative Music Technology 1 • Music for Media • Music Industry Structures • Sound Practice • Sound Theory • Think Music-Tech

Level 5

• Contemporary Production Studies 2 • Creative Music Technology 2


• Creative Sound and Music for Film & TV • Intro to Audio Post Production • Working in the Music Business

Option Modules - students select one of the following:

• Acoustics • Advanced DAW Practice • Advanced Recording Techniques • Live Electronics

Level 6

• Creative Sound for Games and Animation • Mixing for Audio Post and Industry Workflows • Production-Sound ADR Practice • Sound for Picture (Concepts and Analysis) • Major Project

17. Summary of the Course for the HEAR transcript

The London College of Music is the largest specialist music and performing arts institution in the UK. It offers a wide range of innovative courses in performance, composition, music technology, performing arts and music management, with excellent facilities and technology.

The College maintains close links with the music industry and most of the teaching staff continue to work in industry, bringing relevant contemporary experience to their teaching. Visiting staff from all over the world offer students fresh perspectives and cutting-edge knowledge.

The course aims to produce graduates with the skills to work in industry, along with the theory and techniques essential to the creation of music and audio to a professional standard. The focus of the course ensures the acquisition and development of skills appropriate to contemporary sound and music pre- and post-production. Graduates engage in the practical application of sophisticated audio production technology from a creative and theoretically informed base, with the ability to operate and control complex and demanding recording sessions in high performance audio environments.

The key objectives of the course are to provide graduates with the ability to: • Develop and utilise independent research skills; • Hold an awareness of global developments in technology and marketing opportunities for

music; • Conceptualise the cultural influences and direction of an independent creative practice; • Professionally manage and organise a range of people in the production of a complex

audio and / or visual artefact; • Achieve highly original solutions to creative briefs and technological problems including

creative and professional use of audio recording, editing, and mixing systems as well as related technologies such as sound processing, file management, and archiving;

• Integrate related audio production technologies with video and / or other media systems;


18. Module list (including pre-requisites for PSRBs only) If a module is new, please enter ‘New’ in the Code column, otherwise use existing module codes

Module Title Code Level Credits Pre-reqs Core Optional Contemporary Production Studies MU40247E 4 20

Creative Music Technology 1 MU40248E 4 20

Music in Media MU40249E 4 20

Music Industry Structures MU40250E 4 20

Sound Practice MU40246E 4 15

Sound Theory MU40245E 4 15

Think Music-Tech MU40286E 4 10

Contemporary Production Studies 2 MU50253E 5 20

Creative Music Technology 2 MU50254E 5 20 Creative Sound and Music for Film & TV

MU50249E 5 20

Intro to Audio Post Production MU50258E 5 20

Working in the Music Business MU50248E 5 20 Level 5 Option modules:

Acoustics MU50203E 5 20

Advanced DAW Practice MU50250E 5 20

Advanced Recording Techniques MU50251E 5 20

Live Electronics MU50256E 5 20

Creative Sound for Games and Animation

MU60270E 6 20

Mixing for Audio Post and Industry Workflows

MU60272E 6 20

Production-Sound ADR Practice renamed Sep 18

MU60xxxE 6 20

Sound for Picture (Concepts and Analysis)

MU60275E 6 20

Major Project MU60266E 6 40


19. Course Structure diagram indicating the Module Delivery Plan Level Four Semester 1 Semester 2

Music for Media Music Industry Structures

Sound Theory Sound Practice

Think Music-Tech

Creative Music Technology 1 Contemporary Production Studies 1

Level Five Semester 1 Semester 2

Intro to Audio Post

Production

Working in the Music

Business

Creative Sound and

Music for Film and TV

Option Module*

Creative Music Technology 2 Contemporary Production Studies 2

Level Six Semester 1 Semester 2

Creative Sound for

Games and Animation

Production-Sound ADR Practice

Mixing for Audio Post

and Industry Workflows

Sound for Picture (Concepts and

Analysis)

Major Project (40 credits)

*Option Module: one of the following: Acoustics, Advanced DAW Practice, Advanced Recording Techniques, or Live Electronics

20. Course Learning Outcomes

Level 4 On completion of this level, the student will

have demonstrated the ability to: Relevant Modules

A – Knowledge and Understanding

A1) Demonstrate practical understanding of the studio environment and its related

systems, and to be able to critically assess which systems and techniques to adopt for a

given recording problem.

A2) Define audio technology principals, conventions, contexts and terminology.

A3) Demonstrate a basic awareness and

understanding of conceptual issues and how those relate to practical work.

Sound Practice

Sound Theory

Contemporary Production Studies


A4) Understand the greater role and skills of

management within the music business.

Music Industry

Structures

B – Intellectual Skills

B1) Individually and in teams, identify solutions to technological and aesthetic problems.

B2) Reflect on personal performance, working as an individual and as a member of a team and articulate how this might be improved to

assist further personal development.

Sound Practice

All Modules

C – Subject Practical Skills

C1) Perform and apply basic technological skills with awareness

C2) Work within a relevant time managed

ethos applying a range of learning and technical resources to achieve deadlines.

C3) Demonstrate an understanding of the

structures of the global music industry.

Sound Theory and Sound Practice

Sound Practice

Music Industry

Structures

D – Key / Transferable Skills

D1) Communicate effectively in a format appropriate to the discipline and report

practical procedures in a clear and concise manner with all relevant information.

D2) Manage time and work elements to meet

deadlines.

D3) Find relevant information, using information technology and web based

systems.

D4) Be able to work independently and as a team member within the sound studio

environment

D5) Demonstrate the need for time management and motivation.

D6) Demonstrate a development of their professional and entrepreneurial skills.

D7) Demonstrate and utilise appropriate

academic writing skills

All Modules

All Modules

All Modules

Sound Practice

All Modules

All Modules

Think Music-Tech and

Music Industry Structures


Level 5

On completion of this level, the student will have demonstrated the ability to:

Relevant Modules

A – Knowledge and Understanding

A1) Work under pressure to near professional standards and circumstances.

A2) Analyse the acoustic characteristics of a

space and recommend improvements.

A3) Demonstrate knowledge of musical genres and global variations.

A4) Demonstrate a thorough understanding of the principles of company registration, taxation

and insurance.

Contemporary Production Studies 2

Acoustics

Working in the Music Business

Working in the Music

Business

B – Intellectual Skills

B1) Critically analyse spaces and systems used in music performance.

B2) Critically discuss the primary and secondary research sources in relation to their own creative practice, demonstrating how they have used the

ideas of others to improve this practice. B3) Demonstrate the ability to make suitable and

appropriate contextual choices.

Advanced Recording Techniques and

Acoustics

Contemporary Production Studies 2

and Intro to Audio Post Production

Advanced Recording

Techniques


C1) Demonstrate efficient time and resource management strategies.

C2) Combine sound and music with film to find

creative and original narrative solutions.

C3) Demonstrate skill with Pro Tools software to a standard sufficient to complete a defined set of

editing tasks.

All Modules

Creative Sound and Music for Film and

TV and Intro to Audio Post Production

Advanced DAW

Practice


D1) Communicate to an advanced level in verbal, written and musical situations.

D2) Develop effective business planning and

management skills.

D3) Plan, manage and execute the development of a project.

All Modules

Working in the Music Business

Contemporary

Production Studies 2 and Intro to Audio Post Production


Level 6

On completion of this level, the student will have demonstrated the ability to:

Relevant Modules

A – Knowledge and understanding

A1) Able to design and construct an innovative artefact to high level industry standards, that

exhibits detailed attention to production values and content.

A2) Demonstrate knowledge of contemporary

games audio technologies.

Major Project

Creative Sound for Games and Animation

B – Intellectual skills

B1) Present and justify the project work within an evaluative and reflective context as well as within

a wider context.

B2) Demonstrate the ability to analyse, manipulate, interrogate or create musical

materials (texts, artefacts, technologies and phenomena) and to present results

or findings in a coherent and communicable form.

All Modules

All Modules


C1) Provide objective evidence that a comprehensive range of appropriate,

contemporary production techniques and methods have been evaluated and implemented.

C2) Conceive, design and execute a viable brief

to a high professional standard and deliver to others in an appropriate format.

All Modules

Major Project


D1) Demonstrate the ability to achieve highly original solutions to creative briefs and

technological problems.

D2) Demonstrate a high-level ability to communicate effectively in the appropriate

medium.

D3) Ability to troubleshoot and solve complex technical problems as they arise.

D4) Demonstrate high-level time and resource management skills in the delivery of technically

complex projects. D5) Demonstrate a well-developed ability to work independently, and to show self-motivation and

critical self-awareness.

All Modules

All Modules

Major Project,

All Modules

All Modules

Major Project


D6) Present and justify project work within an evaluative and reflective context, as well as

within a wider context

D7) Demonstrate planning, self/time/resource management, communication, creative and imaginative exploration, problem solving,

and quality control.

All Modules

The following tables display the modular areas of study and the associated programme learning outcomes relevant to each area Level 4 A1 A2 A3 A4 B1 B2 C1 C2 C3 D1 D2 D3 D4 D5 D6 D7 Contemporary Production Studies

Creative Music Technology 1

Music for Media

Music Industry Structures

Sound Practice

Sound Theory

Think Music-Tech

Level 5 A1 A2 A3 A4 B1 B2 B3 C1 C2 C3 D1 D2 D3 Contemporary Production Studies 2

Creative Music Technology 2

Creative Sound and Music for Film & TV

Intro to Audio Post Production Working in the Music Business

Options Acoustics

Advanced DAW Practice

Advanced Recording Techniques Live Electronics


Level 6 A1 A2 B1 B2 C1 C2 D1 D2 D3 D4 D5 D6 D7 Creative Sound for Games and Animation

Mixing for Audio Post and Industry Workflows

Production-Sound ADR Practice

Sound for Picture (Concepts and Analysis)

Major Project

21. Course Level Skills Development Overview BA (Hons) Music Technology – Audio Post Production has been designed to support students in finding employment in the audio post production industry. This has drawn on the employment experience of past graduates from the music technology area who have worked in this field. The audio post industry is centred on London, is successful and continues to expand as part of the UK creative industries. On completion of the course, students will be:

• Competent and creative individuals within their specialist area • Creative practitioners in the global arena of audio post production • Able to work collaboratively within various settings • Able to use IT effectively to enhance communication of ideas and concepts • Competent communicators in written, spoken or musical scenarios • Able to reflect upon and understand the learning processes involved in acquiring and

developing new skills • Able to manage their time appropriately to meet deadlines

As an outcome of the above, and in line with UWL graduate attributes, students will demonstrate that they are:

• Creative and expressive individuals • Reflective individuals • Aware of cultural and global issues

Progressive Development Level 4:

On completion of level 4, students will have a secure grounding in core recording and production techniques relevant to audio production as well as empirical experience of applying and embedding these skills in the context of creative work. Students will also have gained a foundational understanding of the music industry and where audio production for TV, film and computer games fit. Modules at level 4 provide the key underpinnings from which further study at level 5 can proceed.


Level 5:

Work at level 5 takes a more project focus and emphasis on creative application alongside continuing skills development is foregrounded. Students continue with advanced production skills and apply these within a group-work setting. This points students towards an increasingly professional level of production and deeper analysis of their work. Their option module at level 5 allows students to tailor the course towards their own specific interests.

Level 6:

At this level students will engage with four core modules focused on this pathway. Students will be able to plan their own continuing development, function within a professional capacity in group situations, quickly develop and assimilate new skills areas in complementary or related arenas. Students will have a broader understanding of their subject and be able to apply knowledge and understanding within a diversity of contexts relating to an emphasis of their own choosing. Students at this level are expected to have developed a clear sense of vocational and/or career trajectory and be able to design a major project appropriate to support that. It is expected that students will make a global and contextual emphasis within work at level 6 and be able to see connections between the different strands represented in the modular areas of study. The quality and extent of work expected at this level is of a professional level of rigour and attention to detail. Creative application remains a core thread that runs throughout each and every level 6 module.

22. Teaching and Learning Approaches

The course makes use of a wide variety of teaching and learning strategies that reflect the complex nature of the course title, the vocational emphasis of the course, and the pragmatic philosophy that underpins it. Level 4:

The focus is on equipping students in a grounding of the core knowledge and techniques germane to the disciplinary nature of the course. However, delivery is not restricted to that of a didactic or purely transmissive methodology. An emphasis is placed upon group discussion, student feedback, and creative application and contextualization of knowledge which places the student at the centre of the learning experience. Teaching in most instances is in small groups of 20 or less. Some shared modules use a delivery format that will involve larger groups with students from other pathways. This will facilitate broader discussion and exchange of ideas. Assessment at this level focusses on knowledge and skills. Assessment within technology modules at level 4 concentrates on a competency based skills assessment. Essay work focusses on evidencing an understanding of the knowledge base and application of analytical skills. Group presentation acts as an effective assessment of team and group working skills – teaching each student the importance of carrying an equal load and supporting others.


Level 5:

Teaching, learning and assessment at level 5 is similar to that of level 4 in type and format but the expectations of students shift. However, there are no examination based assessments at this level as the focus shifts away from evidencing of knowledge and understanding through to more creative application and skills of critical thinking. Students are expected to engage with issues of contextualization and application of understanding within a specific field of study. Small group teaching, small format lectures and group work and discussion continue to play a key role in the learning approach. Assessment utilizes practical competency skills assessments but now with a stronger focus on creative application and situated learning. Group work remains a feature but with a higher expectation on creative engagement and divergent thinking.

Level 6:

The focus at this level will be on the ability to convey a global, contextual critique within academic skillsets and creative, professional level work. Opportunities to broaden and develop new skillsets are introduced at level 6 and whilst all will have some connection with those of levels 4 and 5, the emphasis will be on a quick assimilation of new skills in the production of high quality, creative work. Assessment strategies employed at this level allow students to engage personally within the field bringing rigorous critical reflection within a more informal, ‘real-world’ written scenario; portfolio submissions; group presentations, production artefacts; and extended written essay work. The focus in all these is either helping students prepare for future employability or further academic study at masters level. Students at level 6 are expected to design and execute a major independent project that reflects their vocational or career related trajectory.

23. Teaching and Learning Tools The course draws upon a wide variety of teaching and learning tools and all work undertaken at each level has an element of pragmatism: the focus being on developing useful skills to support a vocational pursuit in the field of location recording and audio post production.

• Small group teaching forms the mainstay of teaching delivery and frequent discussion groups, seminars and workshops allow students to practically apply their learning in a more situated way. Opportunities for feedback, group discussion and presentation allow students to develop their personal confidence and the ability to communicate ideas.

• Regular group tasks and group presentation work helps students develop in the areas of team work, negotiation and inter-personal skills.

• Workshops facilitate a more informal teaching delivery and allow students to ask questions, see Practical assignments and situated learning tasks help students apply, test, refine, and develop new skills in a ‘working’ or real-world environment whether that be on location, in the studio or an in-house practical assessment scenario.

• Regular opportunities to engage in critical, personal reflection allow students to relate previous knowledge and experience to future learning and development and help encourage a personal ownership of their own learning experience and future development.


• Employment of regular visiting lecturers and master classes help students learn the approach taken by those working professionally – learning by example in many professional settings.

The above approaches all contribute to an environment of active learning which encourage students into practices of deep learning as they become practically involved in their learning process in ways in which allow them to express themselves creatively in all aspects of their work.

24. Technology Enhanced Learning (TEL) The course is supported at all levels by the Blackboard VLE. Every module space is designed to comply with the Baseline content requirements, which included Reading Lists, regular announcements, submission of work through Turnitin or Assessments tools. All modules distribute teaching material from each session and where it is available there will be UWL Replay recordings of lectures. There are links to a wide range of video material and sample libraries, as well as blogs and examples of past work through the Campus Press platform. There will be links to relevant online case studies and example productions to inform in class activities and discussions. Many modules will make use of recommended tutorials at Lynda.com. The major software platforms in this field are well represented on Lynda and are at the correct level to help students develop their skills and knowledge throughout the course. Slack Channels are used to support group communication on some modules. These help tutors and students organise remote group discussions and share files in a transparent way outside of class. Students in this field will make extensive use of computer platforms and technology in the creation and production of their work. They will document this in audio and video form and be fluent in sharing their creative practice with others in both public and closed forums.

25. Assessment Approaches

Design of the modules making up the course is assessment driven in that they are designed from learning outcomes and assessment upwards. All modules have formative activities to support student learning through in-class feedback. In the main assessment is tutor assessed. However some elements of peer and self-assessment are also used and contribute to overall marks in some cases. Assessment is primarily through course work and is often based around critical review and discussion with tutors and peers. A variety of assessment methods are used, including:

• Essays – linear and hypertext • Portfolios – containing practical and written work • Videos • Proposals


• Reports • Live briefs • Group working • Practice diaries and log books • Presentations – group and individual • Seminar presentations, contributions to online discussions and workbook exercises • Multi-choice examinations • Critical analyses and reviews of work • Reflective accounts • Research journals • Design analysis • Practical skills assessment • Major independent projects with research and practical production elements

Portfolios: For a technology based course of this nature there will be considerable focus the creative use technology. Students will become fluent and confident in their technical skills, developed over many modules and at each level. The creation of portfolio work throughout the course will allow students to demonstrate their skills and creative ideas. They will critique their work, measure it against industry standards and develop strategies for future improvements. Presentations: The use of presentations on the course help students to talk about their work and share their ideas with others. This is an important aspect of working in the creative industries and supports employability. This happens at all levels and starts with sharing ideas with peers for feedback at level 4. By the 2nd year students will be pitching larger project ideas and become more confident in using a range of technology to support this. In the final year students present detailed and extensive production and research plans on several modules including their Major Project. Group Work: Collaborations and group work are key skills that help support employability in the creative industries. Students are able to practice group working at all levels and take on more independent responsibility for this through the course.


26. Assessment Matrix

Module Title Level Credit Assessment Type (see definitions

below)

Weighting (%)

Overall pass mark

Threshold (%)

Apprenticeships Only:

contributes to ‘End-Point

Assessment’ (please )

Submission: Week

Number

Level 4:

Contemporary Production Studies 4 20

Oral assessment and presentation

20 40 Continual

Set Exercise 35 Sem 2 – wk 12

Written assignment 45 Sem 2 – wk

12

Creative Music Technology 1 4 20


10 40 Sem 1- wk 7

Portfolio 20 Sem 1 – wk 12



Portfolio 45 Sem 2 – wk

12

Music in Media 4 20 Oral assessment and presentation

20 40 Wk 6

Portfolio 40 Wk 9 Portfolio 40 Wk 12 Music Industry Structures 4 20 Written

assignment 40 40 Wk 6

Written assignment 60 Wk 12

Sound Practice 4 15 Oral assessment and presentation

30 40 Wk 6 -7

Portfolio 70 Wk 13

Sound Theory 4 15 Oral assessment and presentation

30 40 Wk 7

Set Exercise 70 Wk 13

Think Music-Tech 4 10 Portfolio 100 40 Continual Wk 4 - 12

Level 5:

Contemporary Production Studies 2 5 20


20 40 Continual

Portfolio 80 Sem 2 – Wk 12

Creative Music Technology 2 5 20 Written

assignment 10 40 Sem 1 – Wk 6




Creative Sound and Music for Film & TV 5 20


25 40 Wk 5



10 Wk 9

Portfolio 25 Wk 12 Portfolio 40 Wk 12

Intro to Audio Post Production 5 20


10 40 Wk 6

Portfolio 90 Wk 12 Working in the Music Business 5 20 Written

assignment 20 40 Wk 7


40 Wk 12

Written assignment 40

Wk 12

L5 Option modules: Acoustics 5 20 Portfolio 30 40 Wk 7 Portfolio 70 Wk 13 Advanced DAW Practice 5 20 Set Exercise 40 40 Continual

Wk 2 - 12

Practical skills assessment 60 Wk 13

Advanced Recording Techniques 5 20 Portfolio 50 40 Wk 10

Portfolio 50 Wk 13

Live Electronics 5 20 Written assignment 10 40 Wk 4

Written assignment 20 Wk 12

Portfolio 70 Wk 13 Level 6: Creative Sound for Games and Animation

6 20 Portfolio 30 40 Wk 6

Portfolio 70 Wk 12 Mixing for Audio Post and Industry Workflows

6 20 Practical skills assessment 40 40

Wk 6

Portfolio 60 Wk 12

Production-Sound ADR Practice 6 20

Practical group work test Record and Boom ADR Recording Session Essay

20

30

30

20

40

Wk 5 Wk 6 Wk 12 Wk 14

Portfolio 50 Wk 12 Sound for Picture (Concepts and Analysis)

6 20 Oral assessment and presentation

25 40 Wk 6 - 7

Portfolio 75 Wk 12 Major Project

6 40 Oral assessment and presentation

5 40 Sem 1 – Wk

5

Written assignment 10 Sem 1 – Wk

9 Portfolio 60 Sem 2 – Wk

10 Portfolio 25 Sem 2 – Wk

10 Assessment type KIS category Written exam Exam Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework Portfolio Coursework


Project output (other than dissertation) Coursework Oral assessment and presentation Practical Practical skills assessment (including OSCE) Practical Set Exercise Varies (see below*) *Examples might include data interpretation, data analysis exercises and problem-based or problem-solving exercises. The categorisation of set exercises will depend on the nature of the exercise being set. Typically, set exercises will not be conducted under exam conditions and will therefore normally be coursework. Where the set exercise is performed under exam conditions and does not involve the use of practical skills it should be treated as a written exam. Otherwise it should be a practical exam.

27. Opportunities for work experience and employer engagement

The school works with the UWL Careers Service to promote placement opportunities. They have developed an extensive list of contacts with venues, radio stations, record companies, crewing and events companies as well as community and charity organisations. Students are encouraged to use these, as well as develop their own contacts or through networking at masterclass events with visiting professionals. Work experience opportunities are regularly presented on the LCM Community space in Blackboard. UWL Careers Service organise the annual Streetwise Creative Industries Fair, where companies and potential employers come to the University to meet students and recruit. Connected with this event there are several masterclasses and talks about roles in the industry and how students can improve their employability. All students are also encouraged to register for work with West 5 Productions. They find a wide range of work for musicians and technicians locally and across London. Students are encouraged on several modules to work with external clients to produce commercial work. Many will use their Major Project at level 6 as a way of engaging with industry and creatives.

28. Personal Development Planning (PDP)

Due to the nature of the course design, PDP is embedded in activities in all modules on the programme. Many modules have elements of personal reflection and critical analysis built into assignments. Students build a portfolio of work throughout the course and platforms like Campus Press will be used to showcase this for peer, tutor and eventually public view. The selection of the Option Module at level 5 is supported through an Options meeting with staff during year one to discuss how this will fit with a student’s career aspirations and plans. Students are also able to discuss career plans with their Personal Tutor, who can advise on option choices and opportunities to support their development.

29. (a) QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this course can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx

http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx


The following statements have been taken from the QAA Music Benchmark Document (2008) Music Technology and Acoustics 3.14 Music technology is a broad subject encompassing the scientific study and manipulation of sound, creative applications, the design of novel instruments and methods for recording, storing and propagating sound. Awards may include technology-based studies in subjects vocationally relevant to the recording, broadcasting, and/or public performance of music, or in areas principally of relevance to composers, instrument designers and manufacturers, performers and musicologists. In addition, new industries are emerging which draw upon constituent elements of broad areas of music technology such as the design of sound for virtual and online environments, and music for interactive computer gaming. In whatever field technology-based studies are undertaken, students develop both practical mastery and an understanding of theoretical principles. 3.15 Music students studying acoustics can be expected to gain an understanding of acoustical principles specifically relevant to musical practice, concerning issues such as the design of concert halls and musical instruments. The extent to which mathematical detail and other sub-disciplines, such as psychoacoustics, are included may vary significantly according to the overall priorities of the award. Technological Skills 4.12 Technological skills emphasise practical competence with technological procedures, but they include a creative element and have specific vocational applications. Such skills include the ability to:

• use an appropriate range of equipment for creating and recording music • use and create computer software for musical tasks including composing and performing,

making notation, recording, editing, analysing and synthesising sound • combine musical sound with other media, such as film, digital animation, interactive web and

mobile technology applications • integrate electronic and computer-based elements into live performance • reflect critically in order to evaluate technologically-mediated forms of music • understand the design, construction and care of acoustic musical instruments.

Intellectual Skills 4.14 Such skills include the ability to:

• research and explore: gathering, synthesis and evaluation of evidence, including the ability to quote from and acknowledge written sources

• recognise direct influences and quotations in one's own and others' work • examine assumptions critically in the light of evidence • employ reasoning and logic in order to analyse data, and to formulate relevant arguments

and hypotheses; and the ability to express, interpret and discuss such analyses, arguments and hypotheses

• plan, implement, evaluate, and reflect critically on work in progress • synthesise inputs (materials, knowledge, instinct, tradition) in order to generate informed and

personally owned outputs in written, aural or practical format • assimilate and synthesise complex information • comprehend and apply the parameters of context • extract issues of practice from principle, and principle from practice • exercise judgement and to make informed choices • conceptualise and to apply concepts.


Skills of Communication and Interaction 4.15 Such skills include:

• information and communication technology (ICT) skills including word- processing, email, use of online and other electronic information sources

• language skills, including as appropriate the study of one or more additional languages • the ability to work as an integrated member of a team, to respond to partnership and

leadership, and to lead others in teamwork (as in orchestral/ensemble/ band/choral performance, and leading/conducting/directing such groups)

• an ability to react spontaneously, manage risk and cope with the unexpected • skills in public presentation, including an awareness of audience characteristics and

responses • awareness of professional protocols • the ability to absorb the imaginative concepts of others, to build upon them and to

communicate the resultant synthesis • an appropriate outlook and experience for work in multicultural environments • awareness of issues within the arts world: cultural policy, funding mechanisms, professional

arts structures and institutions, arts within the community. Skills of Personal Management 4.16 Such skills include:

• self-motivation: to practise, take on new repertoires, create a freelance career, acquire new skills, initiate career moves, continue to learn and explore, and keep abreast of developments in an ever-changing profession

• self-critical awareness: monitor and assess abilities, realistically review career path, and reflect on achievements

• the ability to respond positively to self-criticism and to the criticism of others while maintaining confidence in one's own creative work

• understanding one's own learning style and work regimes: constructing one's own timetable, ensuring adequate preparation, and meeting deadlines

• ability to work independently and in isolation: ensuring continued individuality, building upon established technique, continuing research, and ensuring personal welfare

• time management and reliability: making the most of every opportunity and ensuring consistency of achievement

• organisational skills: prioritising and managing • problem-solving skills: reacting to new situations, decoding information and ideas, dealing

with complex situations, and finding ways of working with others under pressure • awareness of spiritual and emotional dimensions, ensuring continuing creativity and

balancing self-expression with external constraints • financial and business awareness: the ability to implement career management skills,

personal presentation, and knowledge of the business aspects of music • entrepreneurship: identifying and exploiting opportunities. Enhanced powers of

imagination/creativity. 4.17 Such skills include:

• flexibility of thought and action • openness to new, personal, different or alternative thinking • curiosity and the desire to explore and express • the ability and confidence to carry a creative project through to delivery.


29. (b) Department for Education (DfE) Apprenticeship Standards The relevant standards can be downloaded from: https://www.gov.uk/government/collections/apprenticeship-standards

Please map how the Course and any ‘In-Company’ delivery demonstrates meeting the standards and the ‘End-Point Assessment’. Not applicable

30. QAA Qualification Descriptors The relevant qualification descriptors for this course can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx

Bachelor's degrees with honours are awarded to students who have demonstrated: • a systematic understanding of key aspects of their field of study, including acquisition of

coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline

• an ability to deploy accurately established techniques of analysis and enquiry within a discipline

• conceptual understanding that enables the student: • to devise and sustain arguments, and/or to solve problems, using ideas and techniques, some

of which are at the forefront of a discipline • to describe and comment upon particular aspects of current research, or equivalent advanced

scholarship, in the discipline • an appreciation of the uncertainty, ambiguity and limits of knowledge • the ability to manage their own learning, and to make use of scholarly reviews and primary

sources (for example, refereed research articles and/or original materials appropriate to the discipline).

Typically, holders of the qualification will be able to: • apply the methods and techniques that they have learned to review, consolidate, extend and

apply their knowledge and understanding, and to initiate and carry out projects • critically evaluate arguments, assumptions, abstract concepts and data (that may be

incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem

• communicate information, ideas, problems and solutions to both specialist and non-specialist audiences.

And holders will have: • the qualities and transferable skills necessary for employment requiring:

https://www.gov.uk/government/collections/apprenticeship-standards

http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx


• the exercise of initiative and personal responsibility • decision-making in complex and unpredictable contexts • the learning ability needed to undertake appropriate further training of a professional or

equivalent nature.

31. External Examiner Arrangements

The External Examiner team for this course are,

Jason Woolley • Major Project • Collaborative Production Project • Creative Sound for Games & Animation • Sound for Picture (Concepts and Analysis) • Production-Sound Practice • Mixing for Audio Post & Industry Workflows • Introduction to Audio Post Production • Advanced DAW Practice • Music for Media • Sound Theory • Think Music-Tech

Christopher Petter

• Contemporary Production Studies 1 & 2 • Advanced Recording Techniques • Advanced Audio Processing Techniques • Advanced Record Production Techniques, • Advanced Mixing Techniques • Mastering • Mix Analysis • Recording Analysis • Creative Sound & Music for Film & TV • Sound Practice

Nikos Stavropoulos

• Creative Music Technology 1 & 2 • Live Electronics • Advanced Electronic Music Production Techniques • Electronic Music Production Analysis • Producing Musicians

Matt Flynn

• Music Industry Structures • Working in the Music Business

David Carugo

• Acoustics Jason Woolly is the lead external for the course with other externals overseeing specialist modules shared with other pathways.

form b - uwl.ac.uk...jacs code other . 5. professional, statutory and regulatory body accreditation...

Documents