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Tech Music School

BA (Hons) Music Business Module Specifications

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Contents Page BA (Hons) Music Business Programme Specifications Form B 3

BA (Hons) Music Business Teaching and Assessment Structure 24

BA (Hons) Music Business Module Leadership 31

BA (Hons) Music Business Level 4 32



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FORM B

Programme Specification Please refer to the ‘Guidance Notes for the completion of required Validation documentation’ when completing this form.

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

BA (Hons)

Programme title: e.g. (Digital Media Arts)

Music Business

Level:

4, 5 & 6 Credits: 360

Exit awards, level and credits: (where applicable)

Certificate of Higher Education – 120 credits Diploma of Higher Education – 240 credits Ordinary degree – 300 credits Honours degree – 360 credits

School:

Tech Music School

Field:

Music Production

Collaborative Partners: (where applicable) Note: Approval for a collaborative partner to deliver a programme requires an additional approval event.

None

Document version:

1.0

Date document completed:

23/3/12

Document completed by:

Phelan Kane, Head of Higher Education, TMS

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1. Awarding body/Institution

University of West London

2. Teaching institution

Tech Music School

3. Admissions criteria

260 UCAS tariff points or equivalent, successful completion of the TMS Music Business Diploma or relevant music business experience, and 5 GCSE's at Grades A* - C including English. Non native English speaking students need to meet our English language requirement of IELTS 6.0 or equivalent. Applications by experienced practitioners without formal qualifications may also be considered through accreditation of prior experiential learning via the TMS APEL policy.

IELTS Score for International Students

6.0 or equivalent

4. Codes

UCAS Code A N/A

UCAS Code B N/A

JACS Code N/A

Other

5. Professional, Statutory and Regulatory Body accreditation (if applicable)

None

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6. Career and progression opportunities

The BA (Hons) Music Business course, based at the heart of the stimulating creative environment of Tech Music School, provides students with the opportunity to develop the knowledge and skills required for a career as a music industry entrepreneur, innovator or creative manager. The emphasis of the course is on the identification, development and realisation of real-life music business projects, in collaboration with students on the Tech Music School music performance, songwriting and music production course; alongside professional musicians. The course features the integration of both traditional industry models alongside an emphasis on the role of existing and emerging digital technologies and their influence, place and role within the industry. It is anticipated that students will have established their own business by the end of the course, the development of which will be supported during their time studying at TMS. Throughout the course students will have regular and ongoing interaction with leading music industry and business practitioners, industry academics and project mentors. Option choices at level 6 will allow students to focus on and develop skills in different paradigms, within a level 6 autonomous construct. Graduates will be able to pursue many differing opportunities across the music industry as industry entrepreneurs, artist managers, label managers, A&R, event managers, music product marketers, e-commerce developers, publishers, managing directors and/or start up managers. Opportunities exist for students to explore teaching careers upon graduation.

7. Location of delivery

Tech Music School, Acton, London, W3 7SZ.

8. Mode of delivery (Copy and paste this symbol - )

Full-time Part-time Distance learning Work-based learning*

Other If other, please specify:

*Work-based learning - if the programme 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 programme?

Via the level 6 module TMSMB602 Industry Placement module student’s have the opportunity for real world work experience within a music industry organisation. Student’s will first discuss the approaches to and preparation for employment before working directly within your work placement organisation for weeks 10-29, sourced from a pool of TMS industry partners. Working closely with their Module Leader, they will select a suitable company for your placement from the pool of TMS industry partners. In their placement company they will gain valuable first hand skills working on a real life project via a mutually agreed time plan (i.e. 1-3 days per week subject to availability). This will provide students with an important insight when researching, designing, implementing and evaluating your work for the concurrent Music Business Project module. Under consultation with their Module Leader and a representative from the industry partner, student’s may (if so desired) define the remit of your Music Business Project via the activities you undertake during your industry placement (subject to availability).

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With any industry placement all related procedures such as risk assessment, health and safety, safeguarding and CRB will be adhered to with over arching management of these issues delivered by TMS on the student’s behalf.

9. Planned programme duration

Certificate of Higher Education – 120 credits – one academic year. Diploma of Higher Education – 240 credits – two academic years. Ordinary degree – 300 credits – three academic years. Honours degree – 360 credits – three academic years.

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 programme (month and year)

September / October 2012

12. Language of study

English

13. Links with External Organisations/Industrial Partners

Music Producers Guild (UK) British Academy of Songwriters, Composers and Authors Music Managers Forum PPL PRS for Music Musicians Union Art of Record Production Conference LCoM International Songwriting Conference LCoM International Festival for Innovations in Music Production and Composition Long Island House Studios Audio Engineering Society Software and hardware by Apple Computers Software by Native Instruments Software by Ableton Software by Avid Audio hardware by Audient Academia Software Solutions

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Range of local music venues Korg keyboards Hammond organs Amplification by Marshall, Hartke and Peavey Guitars and Basses by Gibson, Fender and Music Man Drums by Mapex Sticks by Vater Cymbals by Zildjian Percussion equipment by LP Drum heads by Evans PA's by Peavey Microphones by Shure and Sontronics

14. Student support arrangements

Undergraduate programmes Throughout their programme 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 programme leaders, the module leaders, the personal tutors, in-programme 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 programme. The development of learning skills includes such techniques and activities 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 programmes. Students are expected to participate in an induction. This will introduce them to the requirements of their programme of study and will provide an opportunity to receive all the relevant programme documentation, visit the Library and meet and discuss requirements and expectations of their planned learning experience with the programme team. The following student support services are available for students: Careers and Employment Services Advice Team Disability Team Information and Funding Team Accommodation Team Chaplaincy Counselling Students’ Union Further programme specific information:

TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Programme Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials

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are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Career Action Planning and Artist Development Tutorials These tutorials are a unique aspect of the TMS experience that enable students to have intensive one-to-one meetings with highly experienced professionals who can advise on all aspects of professional development from technical advice to broader support in all aspects of a student’s progress. TMS aims to provide the widest range of tutors across all disciplines and slots can be booked up to three weeks in advance. TMS Pastoral Tutorials These tutorials provide support on any issues that might get in the way of succeeding at TMS (i.e. medical, financial, accommodation or other personal issues). The Student Support team delivers these tutorials and all have received basic counselling training. Where a member of the Student Support team identifies a serious issue they will make a referral to one of TMS’s professional counsellors. Where punctuality or unprofessional behaviour is an issue those students will be called in to a pastoral tutorial to discuss any reasons for non-attendance and to be supported in getting back on track. TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, students make their choices across a three week period when academic skills are discussed and analysed. During the decision making process the Head of Education, Programme Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise.

15. Aims of the programme

The BA (Hons) Music Business enables students to become part of a wide-ranging student body of business specialists, producers, musicians, performers and songwriters at TMS. This gives students an opportunity to integrate, network and build business models, musical partnerships and collaborations with students from other musical disciplines. The over-arching philosophy of the BA (Hons) Music Business is for students to develop, nurture and eventually commercially exploit the existing skills-base at Tech Music School of musicians, producers, songwriters and performers. Students also develop their critical, analytical and reflective skills by considering their productions in the context of the musical, cultural and sociological development of popular music and the music industry. Alongside the attainment of high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including session planners, reflective elements, learning diaries and various forms of research projects. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Programme Leader and the individual student.

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16. Content of the programme

The course aims to provide graduates with the knowledge and skills appropriate to a range of career outcomes in the music industry. Students are encouraged to develop their individual creative ability and support this with the development of a high level of business, reflective and technical skill. In particular, the course aims to enable students to develop:

creative and technical skills appropriate to contemporary music business applications including music marketing and PR, music publishing and digital distribution, artist and contract management, e-commerce and new media, realised through a range of music industry-based projects and culminating in a major popular music business project;

critical, research, analytical and evaluative skills, and a comprehensive understanding of the professional context of the music industry and of the fundamental theoretical concepts and financial and structural models of business, ultimately realised through a business plan for, and an extended critical evaluation of a major popular music business project;

independent learning, team-working, leadership, organisational, problem-solving, networking and communication skills relevant to academic study and the music business and transferable to a range of other academic and vocational contexts, realised through a range of music industry-based projects and culminating in a major popular music business project;

an understanding of the key critical, social, cultural, historical and business concepts, issues and debates relevant to the area of modern music, and to organise and sustain an argument;

a comprehensive knowledge of contemporary practice for careers in the music industry and the creative processes in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in business mechanics within the music industry;

a clear understanding of where their creative strengths lie and how these can be utilised in the music industry and potential career opportunities;

skills in research, analysis, problem solving and critical reflection and the visual, written and verbal communication skills required of a graduate entrant to the music industry;

initiative and personal responsibility, experience of collaborative working methods and the ability to be responsive and adaptable to changing needs and the transferable skills and competencies which enable lifelong learning within the context of the music industry;

transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry;

the ability to manage and organise their own learning, and to make use of scholarly reviews and primary sources, such as research articles and/or original materials appropriate to the music industry;

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17. Module list and pre-requisites

Module Title Code Level Credits Pre-requisites Core Optional

Label Project TMSMB401 4 20 none

The Fundamentals of Business* TMSMB402 4 20 none

Music Industry Landscape* TMSMB403 4 20 none

Artist Management TMSMB404 4 20 none

Event Management 1* TMSMB405 4 20 none

Physical and Digital Marketing TMSMB406 4 20 none

Digital Project TMSMB501 5 20 none

E -Commerce and Music TMSMB502 5 20 none

Project Management* TMSMB503 5 20 none

Music Publishing and the Legal Framework

TMSMB504 5 20 none

Popular Music Culture TMSPERF505 5 20 TMSMB403

Business Start Up TMSMB505 5 20 TMSMB402

Music Business Project TMSMB601 6 60 none

Industry Placement TMSMB602 6 20 none

Event Management 2 TMSMB603 6 20 TMSMB405

Dissertation TMSMB604 6 20 none

*Compensated passes cannot be applied to these modules. See UWL regulations for further info on compensated passes.

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18. Programme Learning Outcomes

Level 4 Relevant modules

A – Knowledge and understanding

A1. Demonstrate knowledge and understanding

of music industry organisations, the external

environment in which they operate and how

they are managed.

A2. Recognise organisational response to

change and their consideration of the future of

external environments in which they operate.

A3. Identify the various processes, procedures

and practices for effective management of

music industry organisations.

The Fundamentals of Business Music Industry Landscape Event Management 1 Physical and Digital Marketing The Fundamentals of Business Music Industry Landscape Physical and Digital Marketing Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing

B – Intellectual skills B1. Demonstrate cognitive skills of critical

thinking, analysis and synthesis.

B2. Create, evaluate and assess a range of

options together with the capacity to apply ideas

and knowledge to a range of situations.

B3. Display effective communication, oral and in

writing, using a range of media which are widely

used in business such as the preparation and

presentation of business reports.

Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing Label Project Artist Management Event Management 1 Label Project The Fundamentals of Business Physical and Digital Marketing

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C – Subject practical skills C1. Deliver an effective performance, within

a team environment, including leadership,

team building, influencing and project

management skills.

C2. Apply effective use of communication

and information technology for business

applications.

C3. Identify assumptions, evaluate

statements in terms of evidence, to detect

false logic or reasoning, to identify implicit

values, to define terms adequately and to

generalise appropriately.

Label Project The Fundamentals of Business Artist Management Event Management 1 Physical and Digital Marketing Label Project Artist Management Event Management 1 Physical and Digital Marketing Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing

D – Key / Transferable skills D1. Apply effective self-management in

terms of time, planning and behaviour,

motivation, self-starting, individual initiative

and enterprise.

D2. Employ interpersonal skills of effective

listening, negotiating, persuasion and

presentation.

D3. Create, evaluate and assess a range of

options together with the capacity to apply

ideas and knowledge to a range of

situations.

Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing

Label Project The Fundamentals of Business Music Industry Landscape Artist Management Event Management 1 Physical and Digital Marketing

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A1. Evaluate the internal aspects, functions and

processes of music industry organisations

including their diverse nature, purposes,

structures, governance, operations and

management, together with the individual and

corporate behaviours and cultures which exist

within and between organisations and their

influence upon the external environment.

A2. Identify theories, models, frameworks, tasks

and roles of management together with rational

analysis and other processes of decision

making within music industry organisations and

in relation to the external environment.

A3. Develop a coherent theoretical analysis of

the development, management and exploitation

of information systems and their impact upon

organisations.

A4. Relate music to its historical, social, cultural,

political, philosophical, and economic context

and to relate processes of change in music to

historical, social and other factors.

E -Commerce and

Music

Project Management

Music Publishing & the

Legal Framework

Business Start Up

E -Commerce and

Music

Project Management


Legal Framework

Business Start Up

Digital Project

E -Commerce and

Music


Legal Framework

Business Start Up

Popular Music Culture

B – Intellectual skills B1. Apply effective problem solving and

decision making using appropriate quantitative

and qualitative skills.

B2. Develop of appropriate policies and

strategies within a changing environment, to

meet stakeholder interests.

Digital Project

Project Management

Business Start Up

Digital Project

Business Start Up

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B3. Deliver effective management of resources

and operations.

Digital Project

Business Start Up

C – Subject practical skills C1. Demonstrate interpersonal skills of effective

listening, negotiating, persuasion and

presentation.

C2. Successfully deliver management and

development of people within organisations.

C3. Manage customer expectations, service

and orientation.

Digital Project

Project Management


Legal Framework

Business Start Up

Digital Project

Project Management


Legal Framework

Business Start Up

Digital Project

E -Commerce and

Music

Project Management

Business Start Up

D – Key / Transferable skills D1. Exercise self reflection and criticality

including self awareness, openness and

sensitivity to diversity in terms of people,

cultures, business and management issues.

D2. Apply industry standard protocols,

techniques and methodologies suitable for a

prescribed paradigm.

Digital Project

E -Commerce and

Music

Project Management


Legal Framework

Business Start Up


Digital Project

E -Commerce and

Music

Project Management


Legal Framework

Business Start Up


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D3. Through self-reflection, critique and

expansion of knowledge, devise and implement

a continuing professional development

processes.

Digital Project

E -Commerce and

Music

Project Management


Legal Framework

Business Start Up




A1. Posses a wide knowledge and

understanding of the broad range of areas of

business and management and the detailed

relationships between these, their application

and their importance in an integrated

framework.

A2. Comprehend the sources, uses and

management of finance with business

organisations.

A3. Appraise the development, management

and exploitation of information systems and

their impact upon organisations.

Music Business Project

Industry Placement

Event Management 2


Industry Placement


Industry Placement

B – Intellectual skills B1. Consistently demonstrate a command of

subject-specific skills including application of

knowledge, as well as proficiency in intellectual

skills.

B2. Demonstrate critical evaluation and to

integrate theory and practice in a wide range of

situations.

B3. Develop a view of business and

management which is influenced by a variety of

learning sources including guided learning,

team work and independent study.


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation

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C – Subject practical skills C1. Conduct research into business and

management issues, either individually or as

part of a team.

C2. Evaluate a range of business data, sources

of information and appropriate methodologies to

inform the overall business process.

C3. Work autonomously on a substantial project

and utilise critical thinking skills with flair and

authority.


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation


Dissertation

D – Key / Transferable skills D1. Direct personal learning, interpreting

applicable scholarly material within a suitable

professional framework.

D2. Synthesise original concepts, and present

the results with lucidity.

D3. Employ self-directed learning and time

management skills to ensure successful

achievement of goals and deadlines.

D4. Apply problem-solving skills to cope with

new situations, translate information and ideas,

manage difficult situations, and work effectively

with others under pressure.

D5. Use reflective practice and critical thinking

to undertake informed personal, academic and

professional development.


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation


Industry Placement

Event Management 2

Dissertation

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19. Graduate attributes and employability skills

Recognising the need for entrepreneurs to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:

Creativity, craftsmanship, management and practical skills.

The mechanics of business: industry protocols, project management and marketing.

Analysis of industry standard models and ethics.

Recorded product release schedules, artist management and development, distribution, merchandise and live events.

The taxonomy of e-commerce, the digital landscape and its effects on the industry.

The social significance of music and the role of social factors in affecting our response to music.

Work placement via TMS industry partners.

Autonomous development of a fit for purpose music industry related enterprise.

Group work, collaboration and teamwork.

Project management, trouble shooting, critical thinking and self reflection.

20. Teaching and Learning strategies

TMS prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioner’s who are equipped for a sustainable career in an ever changing industry. All our tutors are active professional practitioner’s, well-placed to provide students with first-hand advice and guidance on the requirements of the music industry. We encourage a holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The TMS curriculum experience features regular class sizes ranging from 12-16. In these classes the core and specialist subjects are covered. Classes are delivered in a multi level style and all students are engaged with each other’s learning. One-to-one personal tutorials are available for the negotiation and refining of personal goals and targets, both on the course and in the context of a career plan. The ‘Community of Inquiry’ is central to TMS. Studying with us enables the student to become part of a wide ranging student body of business specialists, producers, musicians, performers and songwriters at TMS; a microcosm of the industry. This gives the student an opportunity to integrate, network and build business models, musical partnerships and collaborations with students from other musical disciplines. Some lessons are delivered in a large scale lecture format; delivered in groups of 30-60 multi-discipline students. This is where the TMS creative community is celebrated. Philosophical ideas and concepts such as personal and business management are discussed, and collaborative projects such as gigs, production deals, songwriting splits, management deals and record labels are planned. Students begin to learn how to deal with competition, problems, setbacks, assessment, to celebrate each other’s success and to engage in peer debate. Modules will be delivered in small groups in a combined lecture/workshop format (when appropriate). Practical workshops will occur within suitably equipped rooms for relevant sections of the module. The use of technology as a teaching tool will be included in the module. When appropriate, each student will have access to their own Apple Mac workstation running industry standard hardware and software. For applicable modules, overhead projection will be used to deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using appropriate media such as software and hardware examples, classroom whiteboard, audio recordings, references to hand outs and web URL’s. Tutorial opportunities exist

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whereby students can explore portfolio concepts with their tutor(s).

21. Assessment strategies

The assessment rationale for this programme is based upon a vocational ethos. Constructive alignment has been applied where ever possible to assessment artefacts across modules which retains the individual academic scope for each element of the programme (i.e. Level 4 Artist Management, Level 4 Label Project and Level 4 Event Management 1). A wide range of approaches are taken which include media artefacts, portfolios, examinations, session diaries, timed projects, live events, academic essays, written critiques, research papers, technical exercises, written reports, investigations and (where appropriate) class presentations and seminars. The range of assessment traits utilised reflects the breadth of learning outcomes and objectives for the course itself. Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the tutor, Module Leader and/or Programme Leader and the individual student. Formative assessment methodology will be embedded in the curriculum (i.e. at the end of term(s) when appropriate) and consist of presentations, seminars and tutor driven feedback workshops. Assessment design has followed appropriate taxonomy procedures and is staggered across the final phase of the term(s) to allow students to effectively manage their submission workflow. Level 4 modules feed into appropriate level 5 modules to embellish and heighten skill sets (i.e. Event Management 1 into Event Management 2 etc). Academic writing and study skills are embedded into the level 4 Music Industry Landscape module providing a basis for more detail academic writing requirements for level 5 and 6 modules. Various conceptual pathways exist within the programme (i.e. level 4 Fundamentals of Business into level 5 Business Startup) which feature a development of assessment design appropriate to the idiom. Suitable assessment methods exist for level 6 modules supporting the autonomous nature of this level and developing critical thinking, analysis and reflection within the student body.

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22. Opportunities for work-based learning and employer engagement

The BA (Hons) Music Business enables students to become part of a wide-ranging student body of business specialists, producers, musicians, performers and songwriters at TMS. This gives students an opportunity to integrate, network and build business models, musical partnerships and collaborations with students from other musical disciplines. The over-arching philosophy of the BA (Hons) Music Business is for students to develop, nurture and eventually commercially exploit the existing skills-base at Tech Music School of musicians, producers, songwriters and performers. The School has excellent links with the music industry including leading record labels and artist management companies, performing artists, publishing companies, recording studios, industry bodies, magazines and venues. Opportunities exist for student’s to work with our Industry Partners, with many students engaging in projects during and after graduation. Our Visiting Tutor model supports the enriching and enhancement of pedagogic learning and teaching activities. Industry professions represent an important facet in the learning & teaching strategy at TMS. These individuals provide real world experience within their chosen idiom and impact knowledge, experience and inspiration within the student body.

23. Personal Development Planning (PDP)

Personal Development Planning is central to the ethos of the BA (Hons) Music Business. Aspects of self reflection are embedded within the curriculum. Students will develop their critical, analytical and reflective skills by considering their productions in the context of the musical, cultural and sociological development of popular music and the music industry. Self reflection, critique and analysis exist within the assessment methodologies utilised for various modules (i.e., TMSMB503 Project Management (A3), TMSMB601 Music Business Project (A3), TMSMB602 Industry Placement (A2) and TMSMB603 Event Management 2 (A3)). This allows the student body to engage in metacognitive reflection of their own working methodologies and provides a valuable opportunity for PDP via reflection Academic tutorial portals are available upon request, which are managed via the TMS Student Support team and Programme Leaders. These tutorials allow the student the opportunity to explore academic, pastoral and/or career planning areas:

TMS Tutorial Support The TMS Student Support department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs TMS’s tutorial system. Students can book tutorials with the Programme Leader and key instrumental, musicianship, production, composition and business studies tutors. The aim of the TMS Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Support team and personal tutors. TMS Career Action Planning and Artist Development Tutorials These tutorials are a unique aspect of the TMS experience that enable students to have intensive one-to-one meetings with highly experienced professionals who can advise on all aspects of professional development from technical advice to broader support in all aspects of a student’s progress. TMS aims to provide the widest range of tutors across all disciplines and slots can be booked up to three weeks in advance.

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TMS Support with Module Choices In regards to module selection process for the BMus/BA Level 5 and 6, students make their choices across a three week period when academic skills are discussed and analysed. During the decision making process the Head of Education, Programme Leader, Module Leader and the BMus/BA Tutor Roster are all available to offer guidance and to assist the students with any queries that may arise.

24. QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this programme can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark-statements.aspx QAA Subject Benchmark statements for General Business and Management (2007) 1.3 This subject benchmark statement is for general business and management honours degree programmes only. These programmes are categorised as being broadly based and general in their scope, rather than being oriented towards a particular business function (for example, marketing or finance) or sector (for example, tourism or land management). 2 The nature and extent of general business and management 2.1 The purpose of general business and management programmes is threefold:

study of organisations, their management and the changing external environment

in which they operate;

preparation for and development of a career in business and management;

enhancement of lifelong learning skills and personal development to contribute

to society at large. 3. Subject knowledge and understanding 3.1 There is an expectation that degree programmes covered by this subject benchmark statement should provide a broad, analytical and highly integrated study of business and management. 3. Skills 3.8 Business and management degrees are strongly related to practice and therefore there should be a strong link between the development of skills and employability of graduates. 3.9 Graduates should be able to demonstrate a range of cognitive and intellectual skills together with techniques specific to business and management. Graduates should also be able to demonstrate relevant personal and interpersonal skills. 4. Teaching, learning and assessment 4.1 There should be an integrated teaching, learning and assessment strategy, which is explicit and demonstrates the appropriateness of the teaching and learning methods used, and assessment methods adopted, in relation to the intended learning outcomes and skills being developed, linked to the mode of delivery and the student profile. 4.2 There should be integration between theory and practice by a variety of means according to the mode of delivery including, for example, work-based learning, work experience or placement, exposure to business issues including employer-based case studies, visits and inputs from visiting practising managers. 4.3 It is recognised that achievement in certain (skills) components may be difficult to assess. Nevertheless graduates will be expected to have attained appropriate achievement in knowledge, understanding and skills taken as a whole.

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

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The programme design methodology for the BA (Hons) Music Business has been constructively aligned with the QAA Subject Benchmark statements for General Business and Management (2007) as outlined in section 3.This provides an academic infrastructure that supports the TMS ethos of an holistic approach to music education and through this approach enable our student’s to interpret a wide range of concepts, techniques and skills with authenticity and authority. The curriculum for the BA (Hons) Music Business is forward thinking, robust and contemporary and is modelled on the landscape of the current music industry. What the student studies is relevant to the working practices of the industry: students learn what they need to learn. In line with good pedagogic practice, TMS strives to cater for as many diverse learning styles as possible during delivery of its programmes. A mixture of different learning & teaching approaches and activities are embedded in the curriculum of all TMS Programmes: development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion all serve to enrich the student experience. QAA Subject Benchmark statements (General Business and Management (2007)) utilised for programme design include: Knowledge and understanding

3.2 Graduates should be able to demonstrate relevant knowledge and understanding of organisations, the external environment in which they operate and how they are managed (see below). There is likely to be an emphasis upon understanding and responding to change and the consideration of the future of organisations and the external environment in which they operate. 3.3 The interrelationships among and the interconnectedness between these areas are very important within the overall student learning experience, and should be demonstrated in the capabilities of successful graduates from all modes of delivery. 3.4 Organisations - this encompasses the internal aspects, functions and processes of organisations including their diverse nature, purposes, structures, governance, operations and management, together with the individual and corporate behaviours and cultures which exist within and between organisations and their influence upon the external environment. 3.5 External environment - this encompasses a wide range of factors, including economic, environmental, ethical, legal, political, sociological and technological, together with their effects at local, national and international levels upon the strategy, behaviour, management and sustainability of organisations. 3.6 Management - this encompasses the various processes, procedures and practices for effective management of organisations. It includes theories, models, frameworks, tasks and roles of management together with rational analysis and other processes of decision making within organisations and in relation to the external environment.

22

Skills

These include (not in any particular priority order):

cognitive skills of critical thinking, analysis and synthesis. This includes thecapability to identify assumptions, evaluate statements in terms of evidence, to detect false logic or reasoning, to identify implicit values, to define terms adequately and to generalise appropriately;

effective problem solving and decision making using appropriate quantitative and qualitative skills including identifying, formulating and solving business problems. The ability to create, evaluate and assess a range of options together with the capacity to apply ideas and knowledge to a range of situations;

effective communication, oral and in writing, using a range of media which are widely used in business such as the preparation and presentation of business reports;

numeracy and quantitative skills including data analysis, interpretation and extrapolation. The use of models of business problems and phenomena;

effective use of communication and information technology for business applications;

effective self-management in terms of time, planning and behaviour, motivation, self-starting, individual initiative and enterprise;

effective performance, within a team environment, including leadership, team building, influencing and project management skills;

interpersonal skills of effective listening, negotiating, persuasion and presentation;

ability to conduct research into business and management issues, either individually or as part of a team for projects/dissertations/presentations. This requires familiarity with and an evaluative approach to a range of business data, sources of information and appropriate methodologies, and for such to inform the overall learning process;

self reflection and criticality including self awareness, openness and sensitivity to diversity in terms of people, cultures, business and management issues. Also, the skills of learning to learn and developing a continuing appetite for learning; reflective, adaptive and collaborative learning;

23

25. QAA Qualification Descriptors The relevant qualification descriptors for this programme 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: • 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.

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

26. BA (Hons) Music Business Teaching and Assessment Structure The following table summarises the learning outcomes and teaching and assessment structures for each module.

LEVEL 4

Module Credits Classes Weekly contact

hours Summative

Assessments Learning Outcomes

Label Project 20 Theory lectures Presentations Tutorials

1.5

W20 (40%) W30 (60%)

1. Work in a team to research, plan and propose the structure of a record label and EP / album release.

2. Via group work, implement and create an independent record label and deliver a commercially viable recorded music project.

3. Source recorded material from various artists and construct a release schedule for a record label.

The Fundamentals of Business

20 Theory lectures Seminars Tutorials

1.5

Wk9 (30%) W19 (30%) W29 (40%)

1. Identify and describe the key concepts utilised in the

running of a business and apply them to the analysis of a business organisation.

2. Apply environmental scanning techniques to range of business organisations.

3. Analyse and compare organisations in terms of sustainability, globalisation, corporate social responsibility, diversity, business innovation, creativity, enterprise development, knowledge management and risk management.

25

Music Industry Landscape


1.5 Wk10 (10%) W20 (50%) W30 (40%)

1. Analyse the internal structure, operation and output of a

music organisation and produce a well-structured case study.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

3. Evaluate the importance of copyright as an economic force underpinning the music industry.

4. Engage in an appropriate level of reading and research, demonstrating appropriate academic conventions.

Artist Management

20

Theory lectures Practical workshops Tutorials

1.5 W19 (40%) W29 (60%)

1. Compare and contrast the working methods of existing

artist management companies and/or management practitioners, applying knowledge and understanding of the global music marketplace and key legal and financial constraints within which music industry’s managers work.

2. Analyse the music marketplace and identify emerging market opportunities.

3. Negotiate with artists and agree terms relating to contracts, brand management and image creation and control.

4. Produce a business portfolio and career plan for an emerging musician or band.

Event Management 1

20


1.5 W10 (30%) W25 (70%)

1. Describe the structure of the live music industry and

evaluate recent developments in event management. 2. Identify the key stages involved in the organisation of a

music event. 3. As a member of a team, develop and implement a

strategy to organise and promote a music event.

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Physical and Digital Marketing

20 Theory lectures Presentations Tutorials

1.5 W19 (40%) W29 (60%)

1. Identify key marketing principles and roles and how they

apply within the context of the music industry. 2. Undertake marketing analysis, determine how the

marketing mix may best be managed in order to respond to changing environments and assess how to generate revenue through music marketing.

3. As a member of a team design an innovative marketing, branding and promotion campaign for a record label release and produce a press pack.

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LEVEL 5

Module Credits Classes Weekly

contact hours Summative


Digital Project 20

Theory lectures Practical workshops Presentations Tutorials

1.5 W20 (40%) W30 (60%)

1. Identify and assemble a detailed design and build

proposal for a digital music based commercial enterprise.

2. As a member of team, present a new digital venture from opportunity through to harvest, outlining design, build, legality, marketing and promotion.

3. Plan, manage and execute a digital project and trouble shoot problems with limited guidance.

E -Commerce and Music

20 Theory lectures Presentations Tutorials

1.5

W19 (40%) W29 (30%) W29 (30%)

1. Identify and evaluate technology developments and

trends in e-business and assess the opportunities they present for a variety of music business applications.

2. Analyse and evaluate an e-commerce strategy in support of an existing music-based product or application.

3. As a member of a team, identify a market need through market analysis, develop a business plan and design and commission a technology-based e-commerce application, to a prescribed budget, suitable for deployment in the music industry.

Project Management


1.5 W30 (60%) W30 (40%)

1. Apply appropriate project management strategies and

tools to manage a music business project. 2. Deliver appropriate people management and team

leading skills to manage a music business project. 3. Evaluate the effectiveness of the implementation of a

project management strategy.

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Music Publishing and the Legal Framework


1.5 W20 (40%) W30 (60%)

1. Describe and evaluate historical changes in copyright

law in the context of the UK music industry. 2. Evaluate basic copyright law and the format of relevant

music industry based contracts, from a variety of positions (e.g. performers, song writers, music publishers, music industry workers).

3. Evaluate the contemporary context of copyright and its relationship to a changing media environment.

4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework, employing fundamental skills of primary and secondary research.

Business Start Up

20

Theory lectures Seminars Presentations Tutorials

1.5 W19 (40%) W29 (30%) W29 (30%)

1. Apply PEST and SWOT techniques to critically

appraise an existing small enterprise in terms of marketing, finance and human resources and apply the findings to produce a business plan for capital investment in the company.

2. Produce a comprehensive business plan for the start up and operation of a new small music-focused enterprise.

3. Employ appropriate presentational techniques and aides to present a business plan to potential investors.


20 Theory lectures Tutorials

1.5 W10 (25%) W27 (75%)

1. Understand the origin, development and impact of a

range of significant genres in popular music. 2. Evaluate the relationship between popular music and

social change. 3. Understand the contribution of a range of key artists to

the development of popular music from 1900 to the present day.

4. Use academic resources to evaluate the impact of these artists in detail.

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LEVEL 6

Module Credits Classes Weekly

contact hours Summative



60

Research techniques lectures (term one only)

1 (term one only)

W10 (10%) W30 (60%) W30 (30%)

1. Apply appropriate business and market research

techniques to identify an opportunity for a specific music business product and produce and present a clearly defined creative concept.

2. Produce and present a clearly defined, project schedule and business plan for a substantial music industry product.

3. Manage a substantial music business project from inception to completion.

4. Critically evaluate all stages of a music business project.

Supervision 0.4

Industry Placement

20


(term one only)

1.5 (term one only)

W06 (20%) W30 (80%)

1. Define and produce a personal employment plan that

encapsulates a goal within a self defined bespoke industry specialism.

2. Engage in an industry placement with a TMS music industry partner and implement, with their partnership, a project on their behalf.

3. Critically reflect upon their time working within an industry placement company and deliver a portfolio defining the role undertaken and key goals achieved.

Industry placement

via mutually agreed

time plan (i.e. 1-3

days per week

subject to

availability).

Mutually agreed

time plan

30

Event Management 2

20


1.5 W20 (60%) W20 (10%) W30 (30%)

1. As a member of a team, autonomously plan, develop,

promote and implement a high quality publically accessible live event.

2. Demonstrate the use of project management, programming and financial tools within an event management context, with limited guidance.

3. Critical evaluate the strength and weaknesses of the music event and deliver a robust analysis of the event’s success.

Dissertation 20

Research techniques lectures (term one only)

1 (term one only)

W9 (20%) W29 (80%)

1. Construct an outline plan for a substantial written

portfolio that defines broadly theme, concept and intended schema.

2. Autonomously engage in a substantial written paper defined within a music industry related paradigm that exhibits high level structure, production, argument and critique with limited supervision.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is suitably presented and referenced.

Supervision 0.4

27. BA (Hons) Music Business Module Leadership

Level 4

TMSMB401 Label Project Harry Leckstein TMSMB402 The Fundamentals of Business Simon Lowry TMSMB403 Music Industry Landscape TMSMB404 Artist Management

Harry Leckstein Ian Mack

TMSMB405 Event Management 1 Liam Devine TMSMB406 Physical and Digital Marketing Andy Ellis

Level 5

TMSMB501 Digital Project Harry Leckstein TMSMB502 E-commerce and Music tbc TMSMB503 Project Management tbc TMSBUS502 Music Publishing & the Legal Framework

Ian Mack

TMSMB505 Business Start Up TMSPERF505 Popular Music Culture

Simon Lowry Richard Lightman

Level 6

TMSMB601 Music Business Project Harry Leckstein TMSMB602 Industry Placement TMSMB603 Event Management 2

tbc Liam Devine

TMSMB604 Dissertation Phelan Kane

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BA (Hons) Music Business

Level 4

33

TMSMB401: Label Project

Key Information

Course: BA (Hons) Music Business

Module Code: TMSMB401

Module Level: 4

Module Credits: 20

Pre-requisite module or learning: None

Module type: Mandatory

Teaching & Learning

Lectures: 1 x 1.5-hour lectures per week for 27 weeks (40.5 hours)

Tutorials: 3 x 20 minutes

Personal Development Time:157.5 hours

Module Leader & Tutors Module Leader: Harry Leckstein Tutor(s): Harry Leckstein

Module Summary The programme philosophy of the BA (Hons) Music Business is for students to commercially exploit and develop the

existing skills-base of musicians at Tech Music School. To this end the Label Project is a practical module which aims

to provide students with the practical skills and experience required to simulate strategic and tactic aims within the

release, marketing, promotion and distribution of a recording. This Level 4 module provides the practical application for

the work undertaken by the student in the concurrently studied theoretical Physical and Digital Marketing module.

Module Aims

To work as a member of a team to undertaken a music industry related project, under guidance.

To discover the procedures and protocols involved in a release campaign for an artist / band.

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Indicative Study Topics

Planning the campaign of release, promotion and distribution of a recorded product.

Finding and securing and artists / band.

Branding of an existing musical product

Registering mechanical and non mechanical copyright.

A and R: creative product to completion.

Understanding and exploiting channels of distribution.

Digital music management.

Promotion, control and exploitation of non-musical avenues of production (e.g. merchandise, image rights and

personal appearance).

Live event production, marketing and promotion.

Teaching & Learning Methods The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range

of teaching methods including seminars, tutorials, group-work (including presentations) and computer-assisted

learning with be utilised. There will be an opportunity for you to discuss and analyse you own examples and research.

The use of technology as a teaching tool will be included in the module. Overhead projection will be used to deliver

lecture content via tutor authored E-Learning tools (when appropriate). Concepts will be explained and demonstrated

using appropriate media such as theoretical examples, classroom whiteboard, audio recordings, references to hand

outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasise

application of content.

You will examine the key techniques employed by ‘real world’ professionals and organisations in the planning and

promotion of recorded music within existing record labels, through a series of lectures and seminars. You will

undertake lecturer-monitored research of record label structure to aid your own simulated launch of a student sourced

and managed recorded material and which will form the basis of seminar presentations and discussion. The strategy is

for learning to become less prescriptive as the module progresses and for you to develop critical autonomy via

independent project work and enquiry-based learning.

Students will be set weekly research-based tasks as preparation for a formative assessment. Class-based critical

analysis, presentation and discussion within a seminar environment will occur and tutors will provide feedback on the

work presented.

35

Learning Outcomes On completion of this module a successful student will be able to:

1. Work in a team to research, plan and propose the structure of a record label and EP / album release.

2. Via group work, implement and create an independent record label and deliver a commercially viable recorded

music project.

3. Source recorded material from various artists and construct a release schedule for a record label.

Assessment No Assessment

Method Length Learning

Outcomes Addressed

Assessment Weighting

Formative/ Summative

Assessment Week

1 Outline plan. 1000 words

1, 3 40% Summative 20

2. Group Presentation.

30 mins 2, 3 60% Summative 30

Assessment Brief Your group work will be assessed according to the below schedule:

1. You will be required to deliver a portfolio that outlines a development plan for the creation of a record label. As

a member of a team create a record label, sourced with artists taken from the talent utilised by each member

of your group in their assessment for Artist Management module. For your project, consider a commercially

viable recorded music project, identifying through market analysis a market demand within the UK music

sector and define a label structure. Allocate job roles, create a label ethos and brand, define a selection of

material for a label ‘sampler’ release with at least one track taken from each student’s managed artist (from

within the Artist Management module). Document your evidence into an independently written portfolio (i.e. not

group work). This will involve the submission a 1000 words (circa +/- 10%) written outline plan that showcase

the research, planning and development, shortlist choices, job roles and decision making undertaken when

choosing a selection of material to release on the record label. Demonstrate a theoretical understanding of the

key stages involved in market analysis, branding and the selection of material selected for release. The quality

of your group work will be assessed. Prior to authorship of you plan, ensure the dynamic interplay between the

group and the involvement of each group member is of a high standard. Journalistic writing is acceptable but

referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the student handbook for

more details.

2. Working within your group dynamic utilised for assessment one, you must engage in a group presentation that

defines a portfolio of evidence supporting the creation and launch of a record label. Work in a team, co-

ordinate and demonstrate an understanding of the key stages involved in the organisation and development of

a campaign to launch a label and release a selection of material as a label ‘sampler’ release, with at least one

track taken from each student’s managed artist (from within the Artist Management module). Present your

structure and consider aspects such as planning, the release schedule and the promotion, distribution and

branding of the recorded product. In depth marketing of your label will be presented and accessed via the

concurrently studied Physical & Digital Marketing module. The presentation should last a maximum of 30

36

mins. The quality of your group work will be assessed. Ensure the dynamic interplay between the group and

the involvement of each group member is of a high standard. This will occur on site under TMS examination

conditions. More details will be made available during class time.

Assessment Criteria

Outcome Students will be assessed on their ability to:

Assessment method

1. As member of a team,

research, plan and

propose the structure of

a simulated record

label.

Design and deliver a release plan for a simulated record label. Assessment feedback will be subdivided into areas such as:

Key stage identification.

Promotion.

Distribution.

Branding.

Team work.

Literacy.

Presentation.

Outline plan.

2. Via group work, plan, design and create a record label and deliver a commercially viable recorded music project.

Work as a team to build a record label. Assessment feedback will be subdivided into areas such as:

Label ethos.

Branding.

A&R

Business analytics.

Group decision making.

Team work.

Literacy.

Presentation.

Outline plan. Group Presentation.

3. Source recorded material from various artists and construct a release schedule.

Construct material for a record label release. Assessment feedback will be subdivided into areas such as:

A&R.

Material selection.

Market analysis.


Team work.

Literacy.

Presentation.

Outline plan. Group Presentation.

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Reading List

Core texts:

Lesson material provided by TMS.

Additional Texts:

(2004). The Music Management Bible. London: Sanctuary

(2011). The Unsigned Guide 2011 (UK Edition). Manchester: MCR Music

Ashurst, W. (2006). Stuff the Music Business: the DIY guide to making it London. Sanctuary

Bowden, G. Allen, J, O’Toole, W. (2010) Events Management. UK Butterworth-Heinemann

Bolles, R (2011). What Color Is Your Parachute? 2012: A Practical Manual for Job-Hunters and Career-Changers:

40th Anniversary Edition. London. Ten Speed Press

Conway, D. (2009) The Event Manager's Bible: The Complete Guide to Planning and Organising a Voluntary or Public

Event London, How To Books Ltd

Davis & Scase (2000). Managing Creativity. Oxford: Open University Press

Dobson, M. (2010) Creative Project Management. USA: McGraw-Hill Professional

Handy, C (1997). The Hungry spirit. London: Penguin

Handy, C, (2000). The Gods of Management. London: Penguin

Harrison, A. (2006). Music: The Business: The Essential Guide to the Law and the Deals. London: Virgin

Innes, J. (2009) The Interview Book: Your Definitive Guide to the Perfect Interview Technique London. Prentice Hall

Gammons, H (2011). The Art of Music Publishing: An entrepreneurial guide to publishing and copyright for the music,

film and media industries. USA: Focal

Godin, S, (1999). Permission Marketing : Turning Strangers Into Friends And Friends Into Customers. New York:

Simon & Schuster.

Godin, S, (2008). Tribes: We Need You to Lead Us. New York: Portfolio.

Goldstein, P. (1998). Copyright Highway. London: Routledge

Lathrop, T. (2003). This Business of Music Marketing & Promotion USA Billboard Books

Lees, J. (2010) How to Get a Job You'll Love 2011-2012 Edition. London McGraw-Hill Professional

Kao, J. (1998). Entrepreneurship, Creativity and Organisation. Prentice Hall

Kusek, D; Leonhard, G, (2005). The Future of Music: Manifesto for the Digital Music Revolution. New England: Berklee

Press

Mills, C. (2009) You're Hired! CV: How to write a brilliant CV London. Trotman

Napier-Bell, S (2007). Black Vinyl White Powder London: Ebury

Negus, K. (1999). Music Genres and Corporate Cultures. London: Routledge

Passman, D. (2007). All you need to know about the music business, UK Edition London: Penguin

Rudsenke, J.S, (2005). Start an Independent Record Label (Music Business Made Simple). New York: Schirmer

Books

Shemel, S. Gross, J. Krasilovsky, W. (2007) The Business of Music USA: Watson-Guptill

Shone, A. Pary, B (2010) Successful Event Management. UK CENGAGE Lrng Business Press

Shuker, R (2007). Understanding Popular Music Culture: UK Routledge

Wikstrom, P (2010). The Music Industry: Music in the Cloud (DMS - Digital Media and Society). Cambridge: Polity

B2B / Crowd Sourcing Websites:

Reverbnation Available at: http://www.reverbnation.com

http://www.reverbnation.com/

38

Soncibids Available at: http://www.sonicbids.com

Spreadshirt Available at: http://www.spreadshirt.co.uk

Big Cartel Available at: http://bigcartel.com

Kickstarter: Available at: http://www.kickstarter.com

Pledge Music: Available at: http://www.pledgemusic.com

Sellaband: Available at: http://www.sellaband.com

Slicethepie: Available at: http://www.slicethepie.com

Music Blogs:

17 seconds Available at: http://www.17seconds.co.uk

Abeano Music Available at: http://www.abeano.com

Ankia in London Available at: http://www.anikainlondon.com

Bass Music Available at: http://www.bassmusicblog.com

Battery in your Leg Available at: http://batteryinyourleg.com

Bitter Fingers Available at: http://bitterfingers.net

Black Plastic Available at: http://www.blackplastic.co.uk

Breaking More Waves Available at: http://breakingmorewaves.blogspot.com

Cats band crushes Available at: http://www.catsbandcrushes.com

Chemisty is Dead Available at: http://thechemistryisdead.com

Crack in the Road Available at: http://www.crackintheroad.com

Devil has the Best Tuna Available at: http://besttuna.blogspot.com

Dots and Dashes Available at: http://www.dotsanddashes.co.uk

Dummy Available at: http://www.dummymag.com

Faded Glamour Available at: http://www.fadedglamour.co.uk

Flying with Anna Available at: http://flyingwithanna.wordpress.com

For Folk's Sake Available at: http://www.forfolkssake.com

Fucking Dance Available at: http://www.fuckingdance.blogspot.com

Hotcakes Available at: http://likehotcakes.net

Illegal Tender Available at: http://illegaltendermagazine.blogspot.com

Moleskin 90 Available at: http://moleskin90.blogspot.com

Music like Dirt Available at: http://www.musiclikedirt.com

Music Liberation Available at: http://www.musicliberation.blogspot.com

Pigeon Post Available at: http://thepigeonpost.wordpress.com

Put Me On It Available at: http://www.putmeonit.blogspot.com

Real Horrorshow Tunes Available at: http://horrorshowtunez.wordpress.com

Rich Hughes Available at: http://richardjlhughes.co.uk

Song by toad Available at: http://songbytoad.com

Swear I'm Not Paul Available at: http://www.swearimnotpaul.com

The Music Journal Available at: http://the-music-journal.blogspot.com

This Music Wins Available at: http://www.thismusicwins.com

Transparent Available at: http://www.transparentblog.com

We Write Lists Available at: http://www.wewritelists.com

Wears The Trousers Available at: http://www.wearsthetrousers.com

What's The Ruckus Available at: http://www.whatstheruckus.com

When you Awake Available at: http://whenyouawake.com

http://www.sonicbids.com/

http://www.spreadshirt.co.uk/

http://bigcartel.com/

http://www.kickstarter.com/

http://www.pledgemusic.com/

http://www.sellaband.com/

http://www.slicethepie.com/

http://www.17seconds.co.uk/

http://www.abeano.com/

http://www.anikainlondon.com/

http://www.bassmusicblog.com/

http://batteryinyourleg.com/

http://bitterfingers.net/

http://www.blackplastic.co.uk/

http://breakingmorewaves.blogspot.com/

http://www.catsbandcrushes.com/

http://thechemistryisdead.com/

http://www.crackintheroad.com/

http://besttuna.blogspot.com/

http://www.dotsanddashes.co.uk/

http://www.dummymag.com/

http://www.fadedglamour.co.uk/

http://flyingwithanna.wordpress.com/

http://www.forfolkssake.com/

http://www.fuckingdance.blogspot.com/

http://likehotcakes.net/

http://illegaltendermagazine.blogspot.com/

http://moleskin90.blogspot.com/

http://www.musiclikedirt.com/

http://www.musicliberation.blogspot.com/

http://thepigeonpost.wordpress.com/

http://www.putmeonit.blogspot.com/

http://horrorshowtunez.wordpress.com/

http://richardjlhughes.co.uk/

http://songbytoad.com/

http://www.swearimnotpaul.com/

http://the-music-journal.blogspot.com/

http://www.thismusicwins.com/

http://www.transparentblog.com/

http://www.wewritelists.com/

http://www.wearsthetrousers.com/

http://www.whatstheruckus.com/

http://whenyouawake.com/

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Newsletters:

Bilboard.biz Available at: http://www.billboard.biz

Brands Bands Fans Available at: http://www.brandsbandsfans.com

Holzman Solutions Available at: http://www.holzmansolutions.com

Mi2N Available at: http://www.mi2n.com

Musictank Available at: http://www.musictank.co.uk

Popbitch Available at: http://www.popbitch.com

Social Networking Websites:

2nd

Life Available at: http://secondlife.com

Bandcamp Available at: http://bandcamp.com

Bebo Available at: http://www.bebo.com

Facebook Available at: http://www.facebook.com

Habbo Hotel Available at: http://www.habbo.com

Myspace Available at: http://www.myspace.com

Remotegoat Available at: http://www.remotegoat.co.uk

Soundcloud Available at: http://soundcloud.com

Twitter Available at: http://www.twitter.com

Wordpress: Available at: http://wordpress.org

Websites:

BBC Radio 1’s Introducing Available at: http://www.bbc.co.uk/music/introducing

British Phonographic Industry Available at: http://www.bpi.co.uk

Future of Music Coalition Available at: http://www.futureofmusic.org

Lee & Thompson Available at: http://www.leeandthompson.com

Music Tank Available at: http://www.musictank.co.uk

Musicians Union Available at: http://www.musiciansunion.org.uk

Music Manager’s Forum Available at: http://www.themmf.net

Music Producers’ Guild Available at: http://www.mpg.org.uk

PPL UK Available at: http://www.ppluk.com

PRS For Music Available at: http://www.prsformusic.com

Record of the Day Available at: http://www.recordoftheday.com

http://www.billboard.biz/

http://www.brandsbandsfans.com/

http://www.holzmansolutions.com/

http://www.mi2n.com/

http://www.musictank.co.uk/

http://www.popbitch.com/

http://secondlife.com/

http://bandcamp.com/

http://www.bebo.com/

http://www.facebook.com/

http://www.habbo.com/

http://www.myspace.com/

http://www.remotegoat.co.uk/

http://soundcloud.com/

http://www.twitter.com/

http://wordpress.org/

http://www.bbc.co.uk/music/introducing

http://www.bpi.co.uk/

http://www.futureofmusic.org/

http://www.leeandthompson.com/


http://www.musiciansunion.org.uk/

http://www.themmf.net/

http://www.mpg.org.uk/

http://www.ppluk.com/

http://www.prsformusic.com/

http://www.recordoftheday.com/

40

TMSMB402: Fundamentals of Business

Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning



Personal Development Time: 158.5 hours

Module Leader & Tutors Module Leader: Simon Lowry Tutor(s): Simon Lowry Module Summary This module introduces some of the key frameworks that will be used throughout the course and provides you with an

overview of the fundamental theories and concepts of business and management. You will examine organisations in

terms of their functionality and the dynamic interplay between those functions. A range of environmental scanning

techniques are introduced requiring you to analyse organisations and markets. The nature of this module is not music

industry specific and you will consider examples from a wide range of industry sectors and different types of

organisations. These studies form the groundwork for developing a wider understanding of music business concepts at

large.

Module Aims

To provide students with a solid understanding of the key theories and concepts of business and

management.

To analyse organisational structures, working environments and wider market forces.

41


An introduction to the fundamentals of business and management.

Markets and finance.

Customer relationship management and human resource functionality.

Stakeholders and business strategy.

An overview of organisations: not-for-profit, government, public limited and large multinationals.

Organisations sustainability and globalisation.

Corporate social responsibility: diversity, business innovation, creativity, enterprise development.

Knowledge management and risk management.

Teaching & Learning Methods

The component parts of the module will be delivered in small groups in a combined lecture/workshop format. A range


learning with be utilised. The use of technology as a teaching tool will be included in the module. Overhead projection

will be used to deliver lecture content via tutor authored E-Learning tools (when appropriate). Concepts will be

explained and demonstrated using appropriate media such as theoretical examples, classroom whiteboard, audio

recordings, references to hand outs and web URL’s. The module will also welcome guest speakers from the world of

business to emphasize application of content.

You will be exposed to real life examples and case studies which demonstrate the fundamentals of business through lectures and

seminars delivered by a combination of business professionals and Tech Music School lecturers. You will also produce lecture

directed individual research which will then be analysed in the group context.



work presented.

Learning Outcomes

On completion of this module a successful student will be able to:

1. Identify and describe the key concepts utilised in the running of a business and apply them to the analysis of a

business organisation.


3. Analyse and compare organisations in terms of sustainability, globalisation, corporate social responsibility,

diversity, business innovation, creativity, enterprise development, knowledge management and risk

management.

42

Assessment

No Assessment Method

Length Learning Outcomes Addressed



Assessment Week

1 Written exam.

1.5 hour exam


2 Presentation

30mins. 1, 2 30% Summative 19

3 Essay

1000 words


Assessment Brief Your group work will be assessed according to the below schedule.

1. In week 9 you will be required to sit a short exam based on aspects of business and management that are

studied in weeks 1-9. This will occur on site under TMS examination conditions. More details will be made

available during class time.

2. You will be required to deliver a group presentation identifying and describing the key concepts in business

and apply them to the analysis of a business organisation. More details will be made available during class

time. Place attention to detail within your presentation upon the different departments, structures and activities

within an organization and present your findings using a range of business presentation software tools and

media formats. The presentation should last a maximum of 30 mins. The quality of your group work will be

assessed. Ensure the dynamic interplay between the group and the involvement of each group member is of a

high standard. This will occur on site under TMS examination conditions. More details will be made available

during class time.

3. Assessment three features the submission of a 1000 word essay (circa +/- 10%) written individually by you

(i.e. not group work) evaluating current thinking on the subject of social responsibility and ethics in business.

Place attention to detail within your case study upon aspects such as markets and finance, customer

relationship management and human resource functionality, stakeholders and business strategy. Show

original and critical thinking around issues of social and ethical responsibility in business practice. Journalistic

writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See

the student handbook for more details.

43

Assessment Criteria


Assessment method

1. Identify and describe the key concepts utilised in the running of a business and apply them to the analysis of a business organisation.

Diagnose business traits and appraise their role within an organisation. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam. Presentation. .


Asses and analysis environmental scanning techniques to industry bodies. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Presentation. Essay.

3. Analyse and compare organisations in terms of sustainability, globalisation, corporate social responsibility, diversity, business innovation, creativity, enterprise development, knowledge management and risk management.

Distinguish and justify organisations via a myriad of applicable facets. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Written exam. Essay.

44

Reading List

Core texts:


Additional Texts:

















Godin, S, (1999). Permission Marketing: Turning Strangers Into Friends And Friends Into Customers. New York:

Simon & Schuster.







Press






Books





45










Music Blogs:











































































46




Newsletters:








2nd






























47

Websites:























48

TMSMB403: Music Industry Landscape

Key Information

Course:

BA (Hons) Music Business BA (Hons) Songwriting BA (Hons) Music Production BMus (Hons) Popular Music Performance


Module Level: 4

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Harry Leckstein Tutor(s): Harry Leckstein Module Summary The module gives you the opportunity to study the fundamental aspects of the music industry. The aim of this module

is to for you to have an understanding of the historical and contemporary structure of the music industry including

learning the roles of key stakeholders and providers within it and how those roles are constantly adapting to market

pressures brought about by advances in new technology. Treating the industry as a set of related smaller

organisations and structures this module studies aspects such as the facilitating of licensing, marketing, promotion,

distribution, selling and production of music related product. You will learn to apply study skills, basic research and

academic writing techniques. You will study alongside students from the School’s BA (Hons) Music Production and BA

(Hons) Songwriting courses.

49

Module Aims

To provide the student with a comprehensive and thorough examination of the historical and contemporary

landscape of the music industry and to identify the key stakeholders and providers within the industry.

To identify what roles stakeholders embody within the industry and how they interconnect to form a seamless

food chain from artist to consumer through multiple media formats.

To develop a solid understand of academic writing conventions and apply these to a written case study.


The historical evolution of music as an industry.

The food chain of production, distribution, marketing and sales.

Sales and distribution of recorded media.

Promotion of recorded media, live performance and live events.

Major and independent record label structure.

Royalty collection and distribution.

Financial flow through the music industry.

Publishing – the mechanics and the variables.

The role of new technologies within the music industry.

Artist and Repertoire and the production of new artists and media.

Social, political and cultural impact of music.

Academic writing conventions.

The Harvard Convention

Citations and bibliographies.

Presenting your written work.








outs and web URL’s. The module will also welcome guest speakers from the world of business to emphasize


You will examine the development, structure, roles and functions of the music industry and the history of the formation

of national and international companies and the roles of key external agencies through a series of lectures. You will

undertake lecturer-monitored research to investigate examples of contemporary industry practice and which will form

the basis of seminar presentations and discussion. The strategy is for learning to become less prescriptive as the

module progresses and for you to develop critical autonomy via independent work and enquiry-based learning.

50



work presented.

Learning Outcomes


1. Analyse the internal structure, operation and output of a music organisation and produce a well-structured

case study.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI,

PRS for Music, PPL).


4. Demonstrate an appropriate level of reading and research, demonstrating appropriate academic conventions.

Assessment





Assessment Week

1 Study skills exam.

30 min exam

4 10% Summative 10

2 Written exam.

1.5 hour exam


3 Essay. 1000 words


51


1. In week 10 you will be required to sit a short exam based on aspects of academic writing, research,

referencing and study skills that are studied in weeks 1-9. This will occur on site under TMS examination


2. You will be required to sit a written exam to demonstrate understanding of the subject material covered during

weeks 1-19. This will include analysis of the work of key external agencies that have an active role within the

industry and to evaluate the importance of copyright in the industry. This will occur on site under TMS

examination conditions. More details will be made available during class time.

3. Assessment three features the submission of a 1000 word (circa +/- 10%) case study investigating a

contemporary music industry organisation. During class time a list of suitable organisations will be discussed

by your tutor. Students will be set weekly research-based tasks as preparation for the assessment: class-

based critical analysis, presentation and discussion within a seminar environment will occur and tutors will

provide feedback on the work presented. Place attention to detail within your case study upon aspects such as

role, organisational structure, influence, historical context, purpose and methodology of the organization within

its place in the music industry food chain. Your paper must follow standard academic conventions (i.e. third

person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See


52

Assessment Criteria


Assessment method

1. Analyse the internal structure, operation and output of a music organisation and produce a well-structured case study.

Identify the key structures of a major music organisation. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Essay.

2. Describe the work of key external agencies that exercise an active role within the music industry (i.e. the BPI, PRS for Music, PPL).

Diagnose and appraise the role of key external agencies that exercise an active role within the music industry Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.


Illustrate the role and value of copyright. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

4. Engage in an appropriate level of reading and research, demonstrating appropriate academic conventions.

Present an analysis of a music industry organisation. Assessment feedback will be subdivided into areas such as:

Content.

Literacy.

Referencing.

Bibliography.

Presentation.

Study skills exam. Essay.

53

Reading List

Core texts:


Additional Texts:


















Simon & Schuster.







Press






Books










54







Music Blogs:















































































55

Newsletters:








2nd



























56

Websites:























57

TMSMB404: Artist Management

Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning



Personal Development Time: 157 hours

Module Leader & Tutors Module Leader: Ian Mack Tutor(s): Ian Mack

Module Summary This module introduces students to the key principles of finding, nurturing and managing creative artists, writers and

producers in the contemporary music industry. In accordance with the programme’s aims and ethos, you will also

examine individuals and companies within the constantly evolving music business and study their organisation and

their working structures. You will develop the interpersonal skills required to research, negotiate, manage, promote

and maintain (both financially and culturally) a successful music career for an artist, writer or producer. This module is

consistent with the course ethos of producing students capable of forging a career as “music industry entrepreneurs”.

Module Aims

To provide detailed case studies, tools and practices of creative artist management.

To outline the A&R process and the business and interpersonal relationship skills required to develop and

grow a successful artist management business.

58


Responsibilities and remits of music managers.

Tools and techniques for the A&R process.

Structuring recording, publishing and artist management contracts.

Managing artist branding and identity.

Producing financial reports (e.g. profit and loss statements and balance sheets).

Income and expense control, budget forecasts.

Understanding the financial and legal contexts of management within the music industry.

Skills of negotiation required by both industry and artist managers in organising management contracts (e.g.

contract length, trial periods, legal fees).

Coordinating live campaigns for single and album releases.

Touring and international management.










Students will examine real life examples and case studies of the artist management process through a series of

lectures and seminars presented by a combination of industry professionals (Artist Managers, Management

Companies and Artists who are managed) and Tech Music School lecturers.



work presented.

59

Learning Outcomes


1. Compare and contrast the working methods of existing artist management companies and/or management

practitioners, applying knowledge and understanding of the global music marketplace and key legal and

financial constraints within which music industry’s managers work.


3. Negotiate with artists and agree terms relating to contracts, brand management and image creation and

control.


Assessment





Assessment Week

1 Case study.

1500 words


2 Portfolio. 1500 words or equivalent.



1. Assessment one features the submission of a 1500 word (circa +/- 10%) written case study comparing and

contrasting the internal business structure of a two student-sourced management companies / practitioners.

Analyse and evaluate a case study of an artist management company and/or practitioner highlighting the key

business techniques, tools and practices deployed to successfully manage the artist/s in question. Place

attention to detail within your case study upon aspects such as the responsibilities and remits of music

managers, aspects of the global music marketplace and key legal and financial constraints. Journalistic writing

is acceptable but referencing is expected. Submission is via a PDF file delivered to the TMS VLE. See the

student handbook for more details.

2. You will be required to deliver a simulated management portfolio for, and negotiated and agreed with, an

emerging musician or band sourced from the musicians at TMS. Gather and present a portfolio of evidence to

support a credible career plan for an artist using a range of media formats. This portfolio should outline and

include a breakdown of key elements such as terms relating to contracts, brand and repertoire management,

image creation and control and the structure of recording and publishing contracts. The artist you work with

will be added to the pool of talent for your group work in the Label Project module and may feature as a

performer in your group co-ordinated gig within the Event Management 1 project. The submission should

contain a portfolio containing a myriad of formats such as (but not limited to) heads of agreement, pro forma’s,

60

press statements, campaign planners, profit and loss statement and balance sheets and contracts. During

your lessons your tutor will advise you as to suitable artefacts that are appropriate for submission. The

portfolio must represent 1500 word (circa +/- 10%) or equivalent. Journalistic writing is acceptable. Submission

is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

Assessment Criteria


Assessment method

1. Compare and contrast the working methods of existing artist management companies and/or management practitioners, applying knowledge and understanding of the global music marketplace and key legal and financial constraints within which music industry’s managers work.

Diagnose and define the internal business structure of an existing artist management company. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.


Appraise the music marketplace and diagnose emerging opportunities. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.

3. Negotiate with artists and agree terms relating to contracts, brand management, and image creation and control.

Present a negotiated artist management package. Assessment feedback will be subdivided into areas such as:

Contractual Agreements.

Image, Branding and Repertoire.

Release and Tour Planning.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio.


Present a negotiated artist management package. Assessment feedback will be subdivided into areas such as:

Contractual Agreements.

Image, Branding and Repertoire.

Release and Tour Planning.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio.

61

Reading List

Core texts:


Additional Texts:


Allen, P. (2011) Artist Management for the Music Business, UK Focal Press

Davis & Scase. (2000). Managing Creativity. Oxford: Open University Press

Frascogna, X. & Hetherington, H (2008) This Business of Artist Management. USA. Billboard Books


Handy, C. (2000).The Gods of Management. London: Penguin

62

TMSMB405: Event Management 1

Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Liam Devine Tutor(s): Liam Devine Module Summary

This module introduces you to the structure of, and roles within, the live music industry and examines key issues within

the industry through the application of information to real event scenarios. The module is a practical module that will

equip you with the skills required to organise a music event and supports the overall course aims of providing you with

the opportunity to develop the knowledge and skills required for a career as a music industry entrepreneur, innovator

or creative manager.

Module Aims

To provide a comprehensive and practical exploration of creating, promoting and managing live events.

To provide an opportunity to programme, promote and run a live event in partnership TMS industry partners.

63


Structure of the live music industry.

Recent even management developments.

Risk Management and Health & Safety.

Promotion and marketing.

Booking.

Technical and artist management.

Floor management.

Merchandising.

Legal, contracts and accounts.










Early sessions will focus of lectures that outline the key areas of the live music industry as well as practical

considerations. Group work will apply information to contemporary case studies. Through group work, students will

work on the early development of an event and provide a skeleton plan of action. Through problem based learning and

case study research, students will be encouraged to critically evaluate their music events.



work presented.

64

Learning Outcomes


1. Describe the structure of the live music industry and evaluate recent developments in event management.

2. Identify the key stages involved in the organisation of a music event.

3. As a member of a team, develop and implement a strategy to organise and promote a music event.



Outcomes Addressed



Assessment Week

1 Portfolio plan.

1500 words or equivalent


2 Event ‘processes’.

6 ‘sign off’ processes



1. You will be required to submit a portfolio that showcases the planning, pre production, organisation and

intended promotion of a live music event. Demonstrate a theoretical understanding of the key stages involved

in the planning of a live event and apply that understanding to its proposed organisation. Document your

evidence into an independently written portfolio (i.e. not group work). This will include (but is not limited to) a

project plan, budget and an outline of the projects rationale. This may be submitted in a myriad of formats

such as planning proforma’s, a costing analysis, flyer, press release, written text etc. More details will be made

available during class time. The portfolio must feature approx. 1500 words (circa +/- 10%) or equivalent.

Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the

TMS VLE. See the student handbook for more details.

2. Assessment two involves the organisation and promotion of a live music event. Working in a team, define job

roles, develop, implement, organise and promote a music event. The event’s basic framework will be co-

ordinated by the TMS management (i.e. booking of venue and delivery of back line). You and your group’s role

will be to structure, manage and deliver the event’s successful implementation. Demonstrate a theoretical

understanding of the key stages involved and apply that understanding to the organisation of a live music

event. The event will be showcase of a myriad of material selected from your cohort’s Label Project module

and feature performances from a selection of artist’s utilised for your Artist Management module. During the

event’s actual implementation you will assessed on a selection of appropriate ‘processes’, these include, by

are not limited to, artist and material short listing, rehearsal co-ordination, marketing and promotion, branding,

load in and backline management etc. During the events timeline, each process will need to be signed off as

successfully implemented by your assessing tutor. More details will be made available during class time.

Reflection on the event’s success is expected to occur within the group presentations for assessment two

within the Physical and Digital marketing module.

65

Assessment Criteria


Assessment method

1. Describe the structure of the live music industry and evaluate recent developments in event management

Describe and analyse the landscape of the live music industry. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Portfolio plan.

2. Identify the key stages involved in the organisation of a music event.

Demonstrate a theoretical understanding of the key stages involved in the organisation of a live music event. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Planning & Execution.


Promotion and PR.

Booking & Management.

Merchandising.


Portfolio plan. Event ‘processes’.

3. As a member of a team, develop and implement a strategy to organise and promote a music event.

Work as a member of a team to organise and promote a music event. Assessment feedback will be subdivided into areas such as:



Promotion and PR.


Merchandising.


Event ‘processes’.

66

Reading List

Core texts:


Additional Texts:

Atkins, M. (2007) Tour: Smart: and Break the Band. USA. Soluble LLC

Barnet, R.; Waddell, J. (2007) This Business of Concert Promotion and Touring. UK. Watson-Guptill




Reynolds, A. (2007) Tour Book: How To Get YOUR Music on the Road. UK Cengage


67

TMSMB406: Physical and Digital Marketing

Key Information



Module Level: 4

Module Credits: 20



Teaching & Learning

Lectures: 27 x 1.5 Hours



Module Leader & Tutors Module Leader: Andy Ellis Tutor(s): Andy Ellis

Module Summary

The Physical and Digital Music Marketing module is a theoretical module that compliments the Fundamentals of

Business and the Music Industry Landscape modules and aims to provide students with the knowledge and

understanding required to evaluate, plan and execute a physical and digital marketing campaign for a commercial

music project. You will study general marketing principles and a history of marketing as well as evolutionary changes

in music marketing as a result of the Internet. This leads to a specific focus on music industry marketing through the

analysis of industry and student case studies.

Module Aims

To provide a comprehensive examination of the principles of marketing and changes in marketing brought

about by new technology.

To analyse the tools and processes of creating and executing a successful music marketing campaign in the

physical and digital spaces.


Marketing in the 20th century.

The Marketing mix – the P’s and C’s.

Key music marketing personnel.

Aspects of the musical product.

Determining product price.

68

Distribution of music.

PR and publicity.

Marketing & promoting a musical product.

Maximising revenue.

Managing the marketing mix.

Digital marketing principles & practices.










You will examine the key techniques employed by ‘real world’ professionals and organisations within the marketing

remit, through a series of lectures and seminars. You will undertake lecturer-monitored research of existing

promotional marketing campaigns to aid your own simulated launch of a student sourced and managed recorded

material and which will form the basis of seminar presentations and discussion. The strategy is for learning to become

less prescriptive as the module progresses and for you to develop critical autonomy via independent project work and

enquiry-based learning.



work presented.

Learning Outcomes


1. Identify key marketing principles and roles and how they apply within the context of the music industry.

2. Undertake marketing analysis, determine how the marketing mix may best be managed in order to respond to

changing environments and assess how to generate revenue through music marketing.

3. As a member of a team design an innovative marketing, branding and promotion campaign for a record label

release and produce a press pack.

69



Outcomes Addressed



Assessment Week

1 Marketing plan.

1000 words 1 40% Summative 19

2 Marketing presentation.

25 min presentation + 5 minutes Q&A

1, 2,3 60% Summative 29


1. Working in the same group as the concurrently studied Label Project module, create a marketing campaign for

your simulated record label. Begin by defining which members of your group will work on which marketing

subsection (i.e. radio, TV, live, print, product, outdoor, digital etc). Each group member must address at least

one physical idiom and a digital idiom (i.e. traditional radio and web based radio). Document your evidence

into an independently written portfolio (i.e. not group work). This will involve the submission a 1000 words

(circa +/- 10%) written outline plan that showcases the planning, PR and publicity and intended promotion of

each subsection (both physical and digital) for the label’s marketing campaign. Conclude the plan by

presenting a short summary of the overall marketing plan (i.e. all subsections worked on by the group).

Demonstrate a theoretical understanding of the key stages involved in the marketing and promotion of your

subsections. The quality of your group work will be assessed. Prior to authorship of you plan, ensure the

dynamic interplay between the group and the involvement of each group member is of a high standard.

Journalistic writing is acceptable but referencing is expected. Submission is via a PDF file delivered to the

TMS VLE. See the student handbook for more details.

2. Working within group utilised for assessment one, engage in a group presentation that defines a portfolio of

evidence supporting the marketing campaign of a record label. Work in a team, co-ordinate and demonstrate

an understanding of the key stages involved in the promotion and marketing campaign for the label launch.

Produce a press pack and consider aspects such as planning the campaign of release and the promotion and

branding of the recorded product. During your presentation also discuss any promotion undertaken by your

label of your live music event utilised for assessment two of the concurrently studied Event Management 1

module (if appropriate). Reflect upon the events strengths and weaknesses and overall success. The

presentation should last a maximum of 25 mins with and an additional 5 mins of Q&A with your assessing

tutor. The quality of your group work will be assessed. Ensure the dynamic interplay between the group and



70

Assessment Criteria


Assessment method

1. Identify key marketing principles and roles and how they apply within the context of the music industry.

Design and deliver a marketing plan for a simulated record label. Assessment feedback will be subdivided into areas such as:

Key stage identification.

Promotion.

Distribution.

Branding.

Team work.

Literacy.

Presentation.

Marketing plan.

2. Undertake marketing analysis, determine how the marketing mix may best be managed in order to respond to changing environments and assess how to generate revenue through music marketing.

Work as a team to build a marketing campaign for a record label. Assessment feedback will be subdivided into areas such as:

Label ethos.

Branding.

A&R

Business analytics.


Team work.

Literacy.

Presentation.

Marketing plan. Marketing presentation.

3. As a member of a team design an innovative marketing, branding and promotion campaign for a record label release and produce a press pack.

Construct a fit for purpose marketing and promotions campaign for a record label. Assessment feedback will be subdivided into areas such as:

A&R.

Material selection.

Market analysis.


Team work.

Literacy.

Presentation.

Marketing plan. Marketing presentation.

71

Reading List

Core texts:


Additional Texts:


Simon & Schuster.


Jobber, D. (2009) Principles and Practice of Marketing. USA. Magraw Hill

Kotler, P.; Armstrong, G.Wong, V.; Saunders, J.; (2010) Principles of Marketing. London. Financial Times


72


Level 5

73

TMSMB501: Digital Project

Key Information



Module Level: 5

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Harry Leckstein Tutor(s): Harry Leckstein

Module Summary The BA (Hons) Popular Music Business course aims to provide students with the opportunity to develop the

knowledge and skills required for a career as a music industry entrepreneur, innovator or creative manager. To this

end the Digital Project is a practical module that aims to provide students with the skills required to plan, present and

execute a digitally-based marketing and distribution strategy for a commercial music project. The module also

develops students’ presentation and pitching skills. The Digital Project module provides a practical application for the

theoretical concepts examined in the concurrently delivered E-commerce and Music module.

Module Aims

To identify and evaluate the processes and techniques required to commercialise a music based enterprise

within the digital domain.

To deliver a credible and detailed presentation outlining an online line product or enterprise launch.


Developments in digital technology.

Digital distribution of music.

Online marketing and promotion.

Operation of social networking sites.

Building online profiles.

Online strategising.

Digital business plans.

‘Pitching’ and presentation skills.

74









The module is delivered through a range of teaching methods, including seminars, tutorials, group-work (including

presentations) and computer-assisted learning. You will undertake lecturer-monitored research of existing digital

campaigns to aid your own project and which will form the basis of seminar presentations and discussion. The strategy

is for learning to become less prescriptive as the module progresses and for you to develop critical autonomy via

independent project work and enquiry-based learning.



work presented.


1. Identify and assemble a detailed design and build proposal for a digital music based commercial enterprise.

2. As a member of team, present a new digital venture from opportunity through to harvest, outlining design,

build, legality, marketing and promotion.




Outcomes Addressed



Assessment Week

1 Project plan.



2 Group presentation.

Max 25 mins

+ 5 mins

Q&A


3 Portfolio.



75


1. Assessment one features the submission of a 1000 words (circa +/- 10%) plan for a music based digital

enterprise. Document your evidence into an independently written portfolio (i.e. not group work). Highlight

important subsections, including but not restricted to digital design, functionality, navigation, infrastructure,

build, legality, marketing, sales and support. Demonstrate a theoretical understanding of the key stages

involved in the design, build and marketing within the digital arena. Your critique must follow standard

academic conventions (i.e. third person narrative, referencing, bibliography etc). Submission is via a PDF file

delivered to the TMS VLE. See the student handbook for more details.

2. In week 30 you will be required in engage in a group presentation supporting your new music based e-

commerce build and launch. Working in a team, you must co-ordinate and demonstrate an understanding of

the key stages involved in design, build, marketing and promotion of a new online product or enterprise.

Reflect upon the strengths and weaknesses, competition and opportunities for your enterprise. The

presentation should last a maximum of 25 mins with and an additional 5 mins of Q&A with your assessing

tutor. The quality of your group work will be assessed. Ensure the dynamic interplay between the group and



3. For assessment three, prepare a solo portfolio (not group work) outlining your involvement in the group

presentation, an outline of the enterprise in question with your personal evaluation of the project. The portfolio

should contain product or enterprise description, functionality, design, navigation, marketing, sales, support

and any legal compliance issues. During your lessons your tutor will advise you as to suitable artefacts that

are appropriate for submission. The portfolio must represent 1000 word (circa +/- 10%) or equivalent.

Journalistic writing is acceptable. Submission is via a PDF file delivered to the TMS VLE. See the student

handbook for more details.

76

Assessment Criteria


Assessment method

1. Identify and assemble a detailed design and build proposal for a digital music based commercial enterprise.

Identify and produce a proposal for a digital music enterprise. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Project plan.

2. As a member of team, present a new digital venture from opportunity through to harvest, outlining design, build, legality, marketing and promotion.

Construct and present a digital venture portfolio. Assessment feedback will be subdivided into areas such as:

Online strategising.

Digital business plan.

Functionality.

Legal.

Interface.

Marketing and promotion.

SWOT & competitor analysis.

Referencing.

Bibliography.

Presentation.

Group presentation. Portfolio.


Manage & deliver a project that features a cohesive artefact. Assessment feedback will be subdivided into areas such as:

Problem Solving.

Content.

Presentation.

Project plan. Group presentation. Portfolio.

77

Reading List

Core texts:


Additional Texts:

Brown, E (2010) Working the Crowd: Social Media Marketing for Business UK British Computer Society


Simon & Schuster.


Kerpen, D. (2011) Likeable Social Media: How to Delight Your Customers, Create an Irresistible Brand, and Be

Generally Amazing on Facebook (& Other Social Networks) USA McGraw-Hill Professional


Press

Levinson, J.; Gibson, S. (2010) Guerrilla Marketing for Social Media: 100+ Weapons to Grow Your Online Influence,

Attract Customers, and Drive Profits USA Entrepreneur Press

Parking, G. (2009) Digital Marketing: Strategies for Online Success USA New Holland Publishers Ltd

Ryan, D. (2008) Understanding Digital Marketing: Marketing Strategies for Engaging the Digital Generation USA

Kogan Page

Scott, D.; Handley, A.; Chapman, C. (2010) Content Rules: How to Create Killer Blogs, Podcasts, Videos, eBooks,

Webinars (and More) That Engage Customers and Ignite Your Business UK John Wiley & Sons

78

TMSMB502: E-Commerce and Music

Key Information



Module Level: 5

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: tbc Tutor(s): tbc

Module Summary This module will examine the changes that e-commerce has brought to the music industry through a range of case

studies that explore concepts from both inside and outside the sector. A general overview of e-commerce will precede

a more detailed study of the components of a successful e-commerce strategy providing you with the necessary skills

to analysis and evaluate existing e-commerce products and strategies. You will apply your theoretical knowledge in

two projects: as part of this module you will design and commission, to a prescribed budget, a technology-based

application suitable for deployment within the music industry. This will provide hands-on experience of the conceptual

development and planning of an e-commerce application. In the concurrently delivered Digital Project module you will

develop and implement a strategy for either launching a new music product or service, or taking an existing music

industry business online.

E-Commerce and Music builds on the skills and understanding of the music industry acquired in year one and looks at

how to apply these to an online business environment. It provides both theoretical and practical support for many of

the other modules and gives you a thorough knowledge of the modern music industry requirements and the challenges

presented by the digital era.

Module Aims

To provide the students with detailed information, discussions and tools to develop a coherent theoretical

analysis and practical application of new media and ecommerce applications for music industry products and

services.

To allow students to explore and critique the various functional and commercial uses of E-commerce across a

range of music related enterprises.

79


Review of the commercial structure within the Internet.

Retailing in e-commerce.

Market research using e-commerce.

E-marketing.

Online publishing.

E-commerce infrastructure.

Online commodity markets.

Metrics and analysis.

Crowd sourcing.

E-commerce security.

Electronic payment systems.

Mobile commerce.

Social networking.

Digital economy.

Broadband and wireless technologies.

Legal, ethical, social and global issues.










The module is delivered through a range of teaching methods, including seminars, tutorials, group-work (including

presentations) and computer-assisted learning. You will undertake lecturer-monitored research of existing E-

commerce models to aid your own project and which will form the basis of seminar presentations and discussion. The

strategy is for learning to become less prescriptive as the module progresses and for you to develop critical autonomy

via independent project work and enquiry-based learning.



work presented.

80


1. Identify and evaluate technology developments and trends in e-business and assess the opportunities they

present for a variety of music business applications.


3. As a member of a team, identify a market need through market analysis, develop a business plan and design

and commission a technology-based e-commerce application, to a prescribed budget, suitable for deployment

in the music industry.



Outcomes Addressed



Assessment Week

1 Case study.

1500 words


2 Group presentation.

max 30 mins.


3 Portfolio. 1000 words or equivalent



1. You will be required to submit a case study that analyses and evaluates an e-commerce strategy for an

existing music based product or service. This case study should be in the format of a 1500 word (circa +/-

10%) written narrative. Set your analysis in context to the wider new media environment and market place.

Consider attention to detail on aspects such as retail in e-commerce, e-marketing and e-commerce

infrastructure. Your critique must follow standard academic conventions (i.e. third person narrative,

referencing, bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See the student


2. Assessment two features the submission of a portfolio of evidence supporting the design and commission of a

technology-based application suitable for deployment within the music industry. As a member of a team,

identify a market need through market analysis, develop a business plan and design and commission a

technology-based e-commerce application. Work within a prescribed budget and build an e-commerce model

suitable for deployment in the music industry. The submission should contain two sections: the first section is

a group presentation that presents your portfolio of evidence. Work in a team, co-ordinate and demonstrate

your rationale. Consider aspects such as market research, risk assessment, design strategy and

infrastructure, budget, digital economy and final commission. The presentation should last a maximum of 30

mins. The quality of your group work will be assessed. Ensure the dynamic interplay between the group and

81



3. The third submission is a portfolio of evidence to support the design and commission of your technology-

based application. Document your evidence into an independently written portfolio (i.e. not group work). This

will include (but is not limited to) a project plan, budget and an outline of the projects rationale. This may be

submitted in a myriad of formats such as planning proforma’s, a costing analysis, risk analysis, design

strategy, written text etc. The portfolio must feature approx. 1000 words (circa +/- 10%) or equivalent.

Journalistic writing is acceptable. Submission is via a PDF file delivered to the TMS VLE. See the student


Assessment Criteria


Assessment method

1. Identify and evaluate technology developments and trends in e-business and assess the opportunities they present for a variety of music business applications.

Identify and assess e-business opportunities within the music industry. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study. Group presentation. Portfolio.


Analyse and evaluate a case study of ecommerce strategy for an existing music based product or service. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.

3. As a member of a team, identify a market need through market analysis, develop a business plan and design and commission a technology-based e-commerce application, to a prescribed budget, suitable for deployment in the music industry.

Present a portfolio of evidence supporting the design and commission of a technology-based application suitable for deployment within the music industry. Assessment feedback will be subdivided into areas such as:

Design strategy and infrastructure.

Market research.

Risk assessment.

Market need.

Budget.

Content.

Literacy.

Referencing.

Bibliography.

Presentation.

Group presentation. Portfolio.

82

Reading List

Core texts:


Additional Texts:

Brown, E (2010) Working the Crowd: Social Media Marketing for Business UK British Computer Society


Simon & Schuster

Godin, S, (2008). Tribes: We Need You to Lead Us. New York: Portfolio

Kerpen, D. (2011) Likeable Social Media: How to Delight Your Customers, Create an Irresistible Brand, and Be

Generally Amazing on Facebook (& Other Social Networks) USA McGraw-Hill Professional


Press

Levinson, J.; Gibson, S. (2010) Guerrilla Marketing for Social Media: 100+ Weapons to Grow Your Online Influence,

Attract Customers, and Drive Profits USA Entrepreneur Press

Parking, G. (2009) Digital Marketing: Strategies for Online Success USA New Holland Publishers Ltd

Ryan, D. (2008) Understanding Digital Marketing: Marketing Strategies for Engaging the Digital Generation USA

Kogan Page

Scott, D.; Handley, A.; Chapman, C. (2010) Content Rules: How to Create Killer Blogs, Podcasts, Videos, eBooks,

Webinars (and More) That Engage Customers and Ignite Your Business UK John Wiley & Sons

83

TMSMB503: Project Management

Key Information



Module Level: 5

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: tbc Tutor(s): tbc

Module Summary This module introduces students to project management concepts and lays down the groundwork needed to

successfully run and deliver a project. The module will cover a range of project management approaches including

strategies and methods to emphasise good practice alongside identifying the pitfalls of poorly executed projects. You

will gain practical experience of using project management techniques and tools. The course topics include project

initiation, risk, planning, building and leading the team, project execution and standard methods.

The Project Management module shows how skills can be developed to enable you to analyse opportunities, calculate

risks and lead a team. This will prove vital experience for the Business Start Up module and leads into the final Music

Business Project module.

Module Aims

To provide a suite of project management tools and techniques to deal with project initiation, risk, planning,

building and leading a team, time and line management, project execution and standard methods.

To build and evaluate a practical platform through which the application of live projects can be applied via

project management techniques and methods.


History and evaluation of project management.

Project management concepts.

Tuckman, Belbin, Johari, & Gantt.

84

Project initiation.

Risk assessment and management.

Project planning.

Project management software.

Building and leading the team.

Project execution.










You will be exposed to real life examples and case studies which demonstrate the fundamentals of project

management through lectures and seminars delivered by a combination of professionals and Tech Music School

lecturers. You will also produce lecture directed individual research which will then be analysed in the group context.



work presented.

Learning Outcomes


1. Apply appropriate project management strategies and tools to manage a music business project.

2. Deliver appropriate people management and team leading skills to manage a music business project.

3. Evaluate the effectiveness of the implementation of a project management strategy.

85



Outcomes Addressed



Assessment Week

1 Portfolio.

1000 words + artefacts


2 Critical evaluation.

1500 words

3 40% Summative 30


1. You will be required to deliver a portfolio of evidence supporting the application of project management tools

and techniques relating to the digital music enterprise you have constructed for the concurrently studied Digital

Project module. Define the project and construct evidence supporting the implementation of the project

management tools and techniques utilised. Document your evidence into an independently written portfolio

(i.e. not group work). This portfolio should contain a 1000 word (circa +/- 10%) written narrative outlining the

project and the project management strategies used alongside the submission of a myriad of supportive

artefacts such as risk assessment reviews, team building models etc (more details will be made available

during class time). Present a credible portfolio that defines a solid project management rationale. Your critique

must follow standard academic conventions (i.e. third person narrative, referencing, bibliography etc).

Submission is via a PDF file(s) delivered to the TMS VLE. See the student handbook for more details.

2. Assessment two features the submission of a 1500 word (circa +/1 10%) critical analysis that explores and

evaluates your use of project management tools and techniques in the creation of your Digital Music project.

Document your evidence into an independently written evaluation (i.e. not group work). Evaluate the strengths

and weaknesses of the project, the risk management undertaken, the strategies and techniques deployed and

the overall robust nature of the project. Your critique must follow standard academic conventions (i.e. third



86

Assessment Criteria


Assessment method

1. Apply appropriate project management strategies and tools to manage a music business project.

Manage a music business project using industry standard tools. Assessment feedback will be subdivided into areas such as:

Planning & initiation.

Risk assessment.

Strategies & management.

Team building.

Project execution.

Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio.

2. Deliver appropriate people management and team leading skills to manage a music business project.

Build and manage a team of individuals within a music business project. Assessment feedback will be subdivided into areas such as:

Planning & initiation.

Risk assessment.

Strategies & management.

Team building.

Project execution.

Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio.

3. Evaluate the effectiveness of the implementation of a project management strategy.

Deliver an appraisal of a music business project from the perspective of a project manager role. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Critical evaluation.

87

Reading List

Core texts:


Additional Texts:

Barker, S.; Cole, R. (2009) Brilliant Project Management (Revised Edition): what the best project managers know, do

and say London Prentice Hall

Billingham, V. (2008) Project Management: How to Plan and Deliver a Successful Project. UK Studymates Ltd


Kao, J. (1998). Entrepreneurship, Creativity and Organisation. USA Prentice Hall

Lock, D. (2007) Project Management UK Gower Publishing Ltd

Noakes, S.; Kelly, S. (2007) The Definitive Guide to Project Management: The Fast Track to Getting the Job Done on

Time and on Budget London. Financial Times

Reiss, G. (2007) Project Management Demystified UK Routledge

88

TMSMB504: Music Publishing and the Legal Framework

Key Information

Course: BA (Hons) Music Business BA (Hons) Song Writing


Module Level: 5

Module Credits: 20



Teaching & Learning




Module Leader & Tutors Module Leader: Ian Mack Tutor(s): Ian Mack

Module Summary Publishing represents a core element of both a business entrepreneur and a songwriting professional’s work. This

module examines the administration and commercial music publishing of original material alongside a study of the

legal mechanics and functions of in the music industry. The module advocates the fundamental importance of the

control and exploitation of copyright and publishing. In this module you will study and analyse the historical

development and exploitation of the system of musical rights management, including intellectual property, mechanical

and non-mechanical publishing rights, related income streams and the associated collecting societies that exist to

retrieve and distribute royalties. You will also analyse the scope and roll of contracts, the internal structures, functions

and future development of specific music companies.

89

Module Aims

To analyse and interpret the many faceted roles of copyright and music publishing within music industry

frameworks.

To comprehend the scope and function of contracts within music publishing law.


Historical development of the creation of copyrighted work.

Structure and function of specific publishing houses.

Intellectual property.

Control and exploitation of publishing rights.

Collection agencies and their relationship with artists and publishing companies.

Musical supervision.

Synchronisation.

Self publishing.

Original scores for film, TV and games.

Publisher sales strategies.

Piracy.

Sampling and copyright clearance.

The digital paradigm and the future of copyright.

Music law & contract schematics.










You will examine the basic copyright law and examine the history of the formation of national and international

publishing companies through lectures through a series of lectures. You will be exposed to the working methods of

industry professionals, such as Copyright Lawyers, Music Publishers and Songwriters through a series of lecture and

seminar-based case studies. The strategy is for learning to become less prescriptive as the module progresses and for

you to develop critical autonomy via independent work and enquiry-based learning.



work presented.

90


1. Describe and evaluate historical changes in copyright law in the context of the UK music industry.

2. Evaluate basic copyright law and the format of relevant music industry based contracts, from a variety of

positions (e.g. performers, song writers, music publishers, music industry workers).


4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework,

employing fundamental skills of primary and secondary research.



Outcomes Addressed



Assessment Week

1 Written exam.

1.5 hour exam


2 Case study.

1500 words

2,4 60% Summative 30

91


1. In week 20 you will be required to sit a written exam to demonstrate understanding of the subject material

covered during weeks 1-19. This will contain a series of short answer questions on copyright law and

publishing rights. This will occur on site under TMS examination conditions. More details will be made

available during class time.

2. Assessment two features the submission of a 1500 word (circa +/- 10%) case study examining a student

sourced publishing company, with reference to its legal framework. You will be set weekly research-based

tasks as preparation for the assessment: class-based critical analysis, presentation and discussion within a

seminar environment will occur and tutors will provide feedback on the work presented. Place attention to

detail within your case study upon aspects such as the structure and function of the chosen company, the

intellectual property/clients they represent, the role, function and shape of contracts, the companies role within

the industry, the companies relationship with collection agencies/artists and/or publishing companies and the

companies working methodology in relation to copyright law. You paper must follow standard academic

conventions (i.e. third person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to

the TMS VLE. See the student handbook for more details.

92

Assessment Criteria


Assessment method

1. Describe and evaluate historical changes in copyright law in the context of the UK music industry.

Identify and appraise the copyright landscape of the UK music industry. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

2. Evaluate basic copyright law and the format of relevant music industry based contracts, from a variety of positions (e.g. performers, song writers, music publishers, music industry workers).

Define the role of copyright law and contractual obligations within a myriad of positions. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.


Diagnose the relationship between contemporary copyright and media trends. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Presentation.

Written exam.

4. Produce a well-structured, critical case study of a publishing firm with reference to its legal framework, employing fundamental skills of primary and secondary research.

Present a solid analysis of the workings of a music publisher firm. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.

93

Reading List

Core texts:


Additional Texts:




94

TMSMB505: Business Start Up

Key Information



Module Level: 5

Module Credits: 20

Pre-requisite module or learning: TMSMB402 The Fundamentals of Business


Teaching & Learning




Module Leader & Tutors Module Leader: Simon Lowry Tutor(s): Simon Lowry

Module Summary This project-based module studies entrepreneurial business practice and will involve you developing a music industry

related business plan. You will examine the principles of business start up with particular emphasis on analysing and

producing the required elements of a successful business plan including further developing PEST and SWOT

techniques to analyse the current market position, engaging in market research, developing marketing plans and

operations, exploring finances including forecasting results through building a profit and loss forecast, balance sheet

and cash flow forecast. You will also examine techniques and appropriate technological aides for presenting the final

plan.

You will be encouraged to explore sources of start-up funding, for example business angles, bank loans and

organisations such as the Prince’s Trust. A presentation of the final plan to a panel of potential music industry

investors will form part of the final assessment. Feedback will be given to you by the panel.

95

Module Aims

To engage in the inception, development, planning and design of a substantial music business start up project.

To deliver a solo business presentation that follows industry standard protocols, with limited tutor guidance.


The business plan – history and position to date.

Market research.

Success music business case studies.

Market entry.

Operations plan.

Forecasting results.

Profit and loss.

Balance Sheet

Cash flow.

Access to finance.

Presentation skills.









You will examine real life examples and case studies of the business start up process through a lecture series

delivered by a combination of industry professionals (entrepreneurial practitioners, company executives, and business

managers) and Tech Music School lecturers. You will also produce lecturer directed individual research that will form

the basis of seminar presentations and discussion.



work presented.

96

Learning Outcomes


1. Apply PEST and SWOT techniques to critically appraise an existing small enterprise in terms of marketing,

finance and human resources and apply the findings to produce a business plan for capital investment in the

company.

2. Produce a comprehensive business plan for the start up and operation of a new small music-focused

enterprise.




Outcomes Addressed



Assessment Week

1 Case study.

1500 words

1 40% Summative 20

2 Portfolio.

1500 words


3 Solo presentation.

10min presentation (approx.)



1. You will be required to submit a simulated case study in which you must critically appraise an existing small

music based enterprise and construct a business plan to raise capital for the company. This case study should

be in the format of a 1500 word (circa +/- 10%) written narrative containing a PEST and SWOT analysis

appraising the firms marketing, finance and human resources. Your critique must follow standard academic

conventions (i.e. third person narrative, referencing, bibliography etc). Submission is via a PDF file delivered to


2. Assessment two features the creation of a business plan for a new small music-focused enterprise. Construct

a suitable business plan and engage in market research. Consider aspects such as market entry, market

opportunities, growth, cashflow and forecast results using profit and loss costing to present an estimated

balance sheet. The submission should contain a portfolio containing a myriad of formats such as (but not

limited to) market entry plans, operations & business plans, forecasting results, profit and loss statement and

balance sheets. During your lessons your tutor will advise you as to suitable artefacts that are appropriate for

submission. The portfolio must represent 1500 word (circa +/- 10%) or equivalent. Your portfolio must follow

standard academic conventions whenever possible (i.e. third person narrative, referencing, bibliography etc).

Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

3. For assessment three, deliver your operations plan for a new small music-focused enterprise to a board of

hypothetical investors. Present to a panel of potential music investors your business plan constructed for

97

assessment two. You will be required to deliver a (approx.) solo 10-minute presentation, held on site at TMS,

which utilises appropriate presentational techniques. More details will be made available during class time.

Assessment Criteria


Assessment method

1. Apply PEST and SWOT techniques to critically appraise an existing small enterprise in terms of marketing, finance and human resources and apply the findings to produce a business plan for capital investment in the company.

Produce a business plan for capital investment into a small enterprise. Assessment feedback will be subdivided into areas such as:

Concept.

Business plan.

Business analytics.

Literacy.

Referencing.

Bibliography.

Presentation.

Case study.

2. Produce a comprehensive business plan for the start up and operation of a new small music-focused enterprise.

Construct a business plan for start up of a new small music-focused enterprise. Assessment feedback will be subdivided into areas such as:

Project outline.

Business analytics.

Fiscal constructs.

Market opportunities.

Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio. Solo presentation.


Deliver a presentation to a board of hypothetical investors. Assessment feedback will be subdivided into areas such as:

Project outline.

Business analytics.

Fiscal constructs.


Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio. Solo presentation.

98

Reading List

Core texts:


Additional Texts:


Atril, P.; Mcleaney, E; (2010) Accounting and Finance for Non-specialists London. Financial Times



Books

99

TMSPERF505: Popular Music Culture

Key Information

Course:

BMus (Hons) Commercial Music Performance BA (Hons) Music Business BA (Hons) Songwriting BA (Hons) Music Production

Module Code: TMSPERF505

Module Level: 5

Module Credits: 20

Pre-requisite module or learning:

Dependant on programme studied: BMus (Hons) Commercial Music Performance: TMSPERF406 Music Business & Study Skills BA (Hons) Music Production: TMSMB403 Music Industry Landscape BA (Hons) Song Writing:TMSMB403 Music Industry Landscape


Teaching & Learning



Personal Development Time: 158.5 Hours

Module Leader & Tutors Module Leader: Richard Lightman Tutors: Richard Lightman

Module Summary This module examines the social and political conditions that influenced the development of genres in popular music

from 1900 to the present day by evaluating key releases from influential artists. Most professional musicians have an

in-depth understanding of the development of contemporary music and draw upon this knowledge in their own work.

Any artist hoping to produce work of substance must demonstrate a keen awareness and a deep appreciation of the

historical and social significance of past material. Students will analyse the growth of popular music from the turn of

the twentieth century to the present day. They will study the development of successive genres from delta blues and

early jazz onwards, and will explore the dynamic relationship between popular music, popular culture and social

change.

100

Module Aims

To examine significant moments in the evolution of popular music genres and place them with their

cultural, political, social and economic context.

To analysis the work of significant artists and identify their impact upon the development of popular music.

To determine the cultural impact of musical originality and creativity in the context of social and economic

history.


Students will examine the development of popular music genres through the practice of key artists in the context of

relevant economic, social and cultural developments:

Popular music and race, including the influence of African American music on mainstream popular music.

Technological change: how did the development of new technologies shape emerging genres in popular

music?

Popular music and gender, including the impact of key writers and performers.

Popular music and people’s beliefs: how have genres in music been influenced by prevailing religious

practices?

Popular music and historical events, including the impact of war and economic depression in twentieth

century popular music.







outs and web URL’s.

Formative assessment includes tutorial, tutor email feedback on draft essays, email negotiation of essay titles, Q&A

and discussion sessions in class.

101

Learning Outcomes


1. Understand the origin, development and impact of a range of significant genres in popular music.

2. Evaluate the relationship between popular music and social change.

3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the

present day.

4. Use academic resources to evaluate the impact of these artists in detail.

Assessment No Summative

Assessment Methods




Assessment Week

1 Short Essay 1000 words

1,2,3,4 25% Summative W10

2 Long Essay 3500 words

1,2,3,4 75% Summative W27

Assessment

1. Short Essay (1000 words) – Individual work

The essay title will be distributed during the module.

Demonstrate academic rigour by engaging with a wide range of literature, including peer reviewed journals and other

sources from the published reading list. All written submissions should be accompanied by a bibliography. Submission

is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. Long Essay (3500 words) – Individual work

Essay title will be distributed during the module.

Students are required to develop a clear and coherent written argument that employs a high level of analysis,

synthesis and evaluation to produce an informative piece of work.

Essays should be neatly presented and well-structured, discussing relevant issues and giving an informed argument.

Source material should demonstrate a thorough engagement with academic literature, including peer reviewed

journals. All written submissions should be accompanied by a bibliography. Submission is via a PDF file delivered to


102

Assessment Criteria


Assessment method

1. Understand the origin, development and impact of a range of significant genres in popular music.

Demonstrate a detailed knowledge and informed understanding of development of a range of significant popular music genres.

Long Essay Short Essay

2. Evaluate the relationship between popular music and social change.

Comment on the interaction between popular music, key artists and important cultural and/or social developments in the period


3. Understand the contribution of a range of key artists to the development of popular music from 1900 to the present day.

Present a detailed evaluation of the contribution of an important artist from the period Make informed references to influential work from a key artist


4. Use academic resources to evaluate the impact of this artist in detail.

Demonstrate academic rigour by engaging with a wide range of literature (including peer reviewed journals and other resources on the reading list) Present fully referenced work accompanied by a detailed and relevant bibliography.


103

Reading List

Core texts:


Additional Texts:

Baur, M. & Baur, S. (2004) The Beatles and Philosophy (Popular Culture and Philosophy) Open Court

Boucher, D. & Browning, G. (eds) (2004) The Political Art of Bob Dylan Palgrave Macmillan

Brothers, T. (2006) Louis Armstrong’s New Orleans London: WW Norton& Co

Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors London: Pimlico

Curtis, J. (1987). Rock Eras: Interpretations of Music and Society 1954 – 1984. Bowling Green: Bowling Green State

University Press

Frith, S. et al (2001) Cambridge Companion to Popular Music Cambridge: CUP

Guralnick, P. (1998) Searching for Robert Johnson: The Life and Legend of the “King of the Delta Blues Singers”

London: Plume Books

Inglis, I. (2000) The Beatles: Popular Music and Society London: St Martin’s Press

Macdonald I. (2005) Revolution in the Head: The Beatles’ Records and the 1960’s London: Pimlico Press

Marqusee M. (2006) Wicked Messenger: Bob Dylan and the 1960s London: Seven Stories Press

Middleton, R. (2000). Reading Pop. Oxford: OUP

Porter, C. (2005) Bob Dylan and Philosophy Open Court Publishing

Schroeder, P. (2004) Robert Johnson: Mythmaking and Contemporary American Culture (Music In American Life)

University of Illinois Press

Starr, L. and Waterman, C. (2003) American Popular Music New York: OUP

Shuker, R. (2008) Popular Music: The Key Concepts London: Routledge

Werner C, (2002). A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate

Journals:

ECHO: A Music-Centred Journal, UCLA

Jazz Perspectives, Routledge

Journal of Popular Music Studies, Blackwell Publishing

Popular Music and Society, Routledge

Popular Music, CUP

Popular Music History, Equinox

Popular Musicology Online, University of Oslo

Radical Musicology, Online Journal from Newcastle University

Soundscapes: Journal on Media Culture

Websites:

Google Scholar: scholar.google.com

104


Level 6

105

TMSMP601: Music Business Project

Key Information


Module Code: TMSMP601

Module Level: 6

Module Credits: 60



Teaching & Learning

Lectures: 1 x 1-hour lectures per week for 9 weeks (9 hours) in term 1

Tutorials: 8-hours supervision over 20 weeks in terms 2/3


Module Leader & Tutors Module Leader: Harry Leckstein Tutors: Harry Leckstein Module Summary In the Music Business Project module you will autonomously plan, manage and deliver a large scale fit for purpose,

real world business entity with its remit centred within a music industry idiom of your choosing. You will be required to

realise the project as a completed business through the production and placement of an appropriate artefact or event,

for example a commercial release, event, or tour supported by appropriate marketing and PR materials. You will

produce a portfolio of evidence to support your project which will form the basis of the assessment for the module. The

conceptualisation of project should link solid academic writing to practice.

You will submit a portfolio of appropriate materials in support of your project which may include (but are not limited to):

a business plan, market research artefacts, operations plans, results forecast, costings & balance sheets, marketing &

promotion materials, web based assets, artist management plans, heads of agreement , artist & repertoire

development artefacts and branding & image designs. These will provide an insight into your pathway and project

construction. You will also submit an extended piece of academic writing. This takes the form of an essay suitable for a

Level 6 module (i.e. third person narrative, research, critique, referencing, bibliography etc). The writing will feature a

solid conceptualisation of the business idiom defined by your project.

The module begins with you attending a research methodology lecture series during term one that is designed to

empower you to undertake research suitable for a level six module. In week ten you will submit an outline plan

stipulating an overview of your product and the desired area of conceptualisation. You will then be assigned a

supervisor from the faculty. The role of the outline plan is to present an introductory overview with which you can build

upon via research under supervision. Your plan may change by the end of the module. During terms two and three the

project becomes more self-driven with you receiving eight hours of support supervision by your relevant faculty

member. The role of the supervisor is to support your cognitive workflow and focus your chosen concept.

106

Module Aims

To plan, manage and deliver a high order, fit for purpose music industry business plan that showcases,

with creativity and authority, an extended understanding of the music industry landscape & business

development protocols.

To develop research methodologies and apply them to a suitable chosen schema via presenting a

heightened piece of academic writing that encapsulates appropriate referencing, presentation and writing

style for a level 6 module.

Possible Business Plan Topics

For the project you are free to choose any industry conceptualisation that is relevant to you. Examples include:

The creation of a fully formed digital music business encapsulating elements from market entry analysis to

mission statement to final execution.

The development and eventual execution of a event management company including devices such as booking

agency management to technical and artist management to floor management to merchandising schematics.

A complete fit for purpose business model for a record label that defines all relevant aspects such as structure,

A&R, branding, marketing & promotion, distribution, contracts, publishing & sync ethos, planning and eventual

release schedule.

The development of a music publishing company with evidence to support the design, structure, repertoire,

ethos, contractual format, market approach (i.e. library, sync, writing commissions etc) and final execution.

A portfolio representing a music industry specialist marketing and promotions company defining company

rationale, branding approach, image consultancy ethos, business plan, specialism(s) and final delivery.


The research methodology section of the module will be delivered in all discipline groups in a lecture format. Concepts

will be explained and demonstrated using appropriate media such as classroom whiteboard, audio recordings,

references to hand outs and other works alongside overhead projection technologies. Student interaction will be

encouraged in the form of discussions and Q&A. Students will also be encouraged to begin to evaluate their own

research portfolio under guidance by the tutor. Advice will also be given on time management, planning, presentation

and critique.

As a Level 6 module, the Production Project module falls into the self-directed, autonomous theme that is current at

most Level 6 modules. During terms two and three, limited supervision is provided and you are expected to

independently manage your workflow.

107

Learning Outcomes


1. Apply appropriate business and market research techniques to identify an opportunity for a specific music

business product and produce and present a clearly defined creative concept.

2. Produce and present a clearly defined, project schedule and business plan for a substantial music industry

product.



Assessment No Summative Assessment


Outcomes Addressed


Assessment Week

1. Outline plan.

1000 word plan.

1 10% 10

2. Portfolio. Relevant artefact.

2, 3 60% 30

3. Critique. 4000 word critique.

2, 3, 4 30% 30

Assessment Brief

Your work will be assessed according to the below schedule:

1. In week ten you will submit an outline plan (1000 word critique - circa +/- 10%) stipulating an overview of your

project and the desired area of conceptualisation. Apply appropriate environmental scanning techniques to identify

an opportunity in the market for a specific music business product and produce and present a clearly defined

creative concept. You will then be assigned a suitable supervisor from the faculty. The role of the outline plan is to

present an introductory overview with which you can build upon via research under supervision. Your plan may

change by the end of the module. The plan should follow the desired writing style (i.e. third person narrative),

feature good literacy, contain referencing that conforms to the Harvard convention, posses a suitable bibliography

and be of a suitable cognitive form for a Level 6 module. Submission is via a PDF file delivered to the TMS VLE.

See the student handbook for more details.

2. This will feature a substantial piece of work and encapsulate a myriad of artefacts that are relevant to your theme.

This may include (but are not limited to): a business plan, market research artefacts, operations plans, results

forecasts, costings & balance sheets, marketing & promotion materials, web based assets, artist management

plans, heads of agreement, artist & repertoire development artefacts and branding & image designs. Your

supervisor will guide you to ascertain the most relevant artefacts to submit. Submission is via hardcopy media

artefacts (if applicable) and written work artefacts (if applicable; via a PDF file delivered to the TMS VLE. See the

student handbook for more details).

108

3. The portfolio must contain a 4000 word critique (circa +/- 10%) exploring your chosen academic conceptualisation

relating to your portfolio. Across the course of terms two and three your chosen subject matter will grow under the

supervision of your assigned faculty member. The paper should define and present an overview of your project, its

implementation and a critique of its concepts. You should follow the desired writing style (i.e. third person

narrative), feature good literacy, contain referencing that conforms to the Harvard convention, posses a suitable

bibliography and be of a suitable cognitive form for a Level 6 module. There is scope within the portfolio to submit

any additional supplementary research material if desired. These can take the form of (but are not limited to):

transcripts of personal interviews, quantitative data models and charts, lyric sheets, musical transcriptions,

software screen grabs and photographical evidence. Submission is via a PDF file delivered to the TMS VLE. See


109

Assessment Criteria


Assessment method

1. Apply appropriate business and market research techniques to identify an opportunity for a specific music business product and produce and present a clearly defined creative concept.

Direct and deliver a high order music business plan. Assessment feedback will be subdivided into areas such as:

Concept.

Business plan.

Business analytics.

Market and consumer demographics.

SWOT & PEST.

Literacy.

Referencing.

Bibliography.

Presentation.

Outline plan.

2. Produce and present a clearly defined, project schedule and business plan for a substantial music industry product.

Demonstrate a theoretical and practical understanding of the key stages involved in the organisation and development of a major music project. Assessment feedback will be subdivided into areas such as:

Project outline.

Business analytics.

Fiscal constructs.


Literacy.

Referencing.

Bibliography.

Presentation.

Portfolio. Critique.


Self manage and deliver a robust, lucid portfolio. Plan their workload, achieve set goals, manage and organise their project. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.



Utilise qualitative and/or quantitative research techniques from a myriad of sources and form a compelling argument. Deliver a suitably formatted portfolio. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.


110

Reading List

Core texts:


Additional texts:

Davies, M. (2007) Doing a Successful Research Project: Using Qualitative or Quantitative Methods. London: Palgrave

Macmillan.

Dawson, C. (2009). Introduction to Research Methods: A Practical Guide for Anyone Undertaking a Research Project.

4th ed. London: How To Books Ltd.

Neville, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism (Open Up Study Skills). London: Open

University Press.

Pears, R. and Shields, G. (2010) Cite them right: the essential referencing guide. 8th ed. Basingstoke: Palgrave

Macmillan.

111

TMSMP602: Industry Placement

Key Information



Module Level: 6

Module Credits: 20



Teaching & Learning

Lectures: 1 x 1-hour lectures per week for 9 weeks (9 hours) in term 1. Industry placement via mutually agreed time plan (i.e. 1-3 days per week subject to availability). Tutorial contact during the placement (i.e. 3 x 20 minutes).


Personal Development Time: approx. 158.5+ hours

Module Leader & Tutors Module Leader: tbc Tutors: tbc Module Summary The Industry Placement module is designed to give you the real world work experience within a music industry

organisation. You will first discuss the approaches to and preparation for employment before working directly within

your work placement organisation for weeks 10-29, sourced from a pool of TMS industry partners. Working closely

with your Module Leader, you will select a suitable company for your placement from the pool of TMS industry

partners. In your placement company you will gain valuable first hand skills working on a real life project via a mutually

agreed time plan (i.e. 1-3 days per week subject to availability). This will provide you with an important insight when

researching, designing, implementing and evaluating your work for the concurrent Music Business Project module.

Under consultation with your Module Leader and a representative from the industry partner, you may (if so desired)

define the remit of your Music Business Project via the activities you undertake during your industry placement

(subject to availability).

This module provides you with the opportunity to observe and work alongside a real world company, whilst employing

the tools and techniques of business research, market analysis, implementation and presentation. It requires you to

develop a balance between theoretical and practical implementation, interpersonal skills and gives you a rare

opportunity to examine a company from multiple angles before implementing a project on their behalf (and with their

partnership). A review of your placement will occur during a tutorial towards the end of term 2. During the end of term

three you will engage in a ‘writing up’ process to allow you to present your findings and reflect upon your industry

placement activities for final assessment.

112

Module Aims

To provide students with the essential ‘factory floor’ experience of working within a music industry company.

To provide the tools and techniques for preparing for work including CV preparation, sourcing job information,

applying for jobs, interview techniques, interpersonal and team playing skills.


The UK job market.

Analysis of employer wants and needs.

Preparation for and acquiring a job.

Interview techniques.

Interpersonal and team player skills.

Real world work based experience.

Work placement company: liaising and negotiating role / project.

Staff ‘shadowing’.

Company’s methodologies and practices.

Goal setting.

Critical analysis.

Reflection.

Portfolio: writing up & presentation.


The module is delivered through a combination of teaching methods, including seminars and tutorials mixed with a real

world application of skills in the work place. Students will be expected to show diligence and appropriate professional

behaviour whilst on an industry placement. Early in term one classroom sessions will identify and discuss challenges,

opportunities, strategies and tactics for successful interaction with the company and implementation of the project in

question. Towards the end of term three you will engage in a ‘writing up’ process for your portfolio which will be

supported by tutorial sessions.

Learning Outcomes


1. Define and produce a personal employment plan that encapsulates a goal within a self defined bespoke

industry specialism.

2. Engage in an industry placement with a TMS music industry partner and implement, with their partnership, a

project on their behalf.

3. Critically reflect upon their time working within an industry placement company and deliver a portfolio defining

the role undertaken and key goals achieved.

113

Assessment

No Summative Assessment


Outcomes Addressed


Assessment Week

1. Placement plan.

1000 word plan.

1 20% 6

2. Placement portfolio. 2000 words

2, 3, 4 80% 30

Assessment Brief Your work will be assessed according to the below schedule:

1. In week five you will submit an outline plan (1000 words - circa +/- 10%) stipulating an overview of your

desired field of specialism for your industry placement, the preferred project schematic and role desired. It is

possible that under consultation with your Module Leader and a representative from the industry partner, you

may (if so desired) define the remit of your Music Business Project via the activities you undertake during your

industry placement (subject to availability). The role of the outline plan is to present an overview of your

desired placement pathway. The accuracy of your plan and your actual placement is subject to TMS industry

partner availability. The plan should follow the desired writing style (i.e. third person narrative), feature good

literacy, contain referencing that conforms to the Harvard convention, posses a suitable bibliography and be of

a suitable cognitive form for a Level 6 module. Submission is via a PDF file delivered to the TMS VLE. See the


2. Assessment two features the creation of a portfolio that provides an overview, reflection and critique of your

industry placement. Construct an analysis of your placement, define the schematic of your agreed roll / project

and its link to the company’s methodologies and practices, and provide critical reflection upon your

achievements. Consider aspects such as business research, market analysis, implementation, team work,

people skills, diligence and professionalism. The submission should contain a portfolio containing a myriad of

formats such as (but not limited to) market analysis, operations & business plans, project & role definitions, job

description(s), time lines and (if appropriate) balance sheets. During tutorial sessions your tutor will advise you

as to suitable artefacts that are appropriate for submission. The portfolio must represent 2000 word (circa +/-

10%) or equivalent. Your portfolio must follow standard academic conventions whenever possible (i.e. third



114

Assessment Criteria


Assessment method

1. Define and produce a personal employment plan that encapsulates a goal within a self defined bespoke industry specialism.

Direct, produce and deliver a personal employment plan. Assessment feedback will be subdivided into areas such as:

Concept.

Employment plan.

Industry and company analysis.

Literacy.

Referencing.

Research.

Bibliography.

Presentation.

Placement plan.

2. Engage in an industry placement with a TMS music industry partner and implement, with their partnership, a project on their behalf.

Working within agreed parameters within a music industry related business. Plan their workload, achieve set goals, manage and organise their project. Assessment feedback will be subdivided into areas such as:

Project outline.

Project implementation.

Team work & professionalism.

Literacy.

Referencing.

Research.

Bibliography.

Presentation.

Placement portfolio.

3. Critically reflect upon their time working within an industry placement company and deliver a portfolio defining the role undertaken and key goals achieved.

Critically reflect on the engagement with a TMS industry partner. Deliver a suitably formatted portfolio. Assessment feedback will be subdivided into areas such as:

Critique.

Project workflow. & achievements.

Research.

Literacy.

Referencing.

Bibliography.

Presentation.

Placement portfolio.

115

Reading List

Core texts:


Additional Texts:






116

TMSMB603: Event Management 2

Key Information



Module Level: 6

Module Credits: 20

Pre-requisite module or learning: TMSMB405 Event Management 1


Teaching & Learning



Personal Development Time:157.5 hours

Module Leader & Tutors

Module Leader: Liam Devine

Tutor(s): Liam Devine

Module Summary

The Event Management 2 module is an extension of the Event Management 1 module and further develops the

application of business techniques associated with managing an event. It is a practical module that will further equip

you with the skills required to plan, design, implement and evaluate a high quality music event. This module has an

emphasis on autonomous event management and supports the overall course aims of providing students with the

opportunity to develop the knowledge and skills required for a career as a music industry entrepreneur, innovator or

creative manager.

117

Module Aims

To develop to a high standard the cognitive and practical skills involved in creating, promoting and managing

live events.

To autonomous engage in the programming, promotion and management of a publically accessible live event.


Autonomous planning & development.

Risk management and Health & Safety regulations.

Programming.

Promotion, marketing and PR.

Booking.

Management: technical, artist & floor.

Merchandising.










Early sessions will focus of lectures that will further define the key areas of the live music industry alongside practical

considerations. Group work will apply information to contemporary case studies. Through group work, students will

work on the early development of an event and provide a skeleton plan of action, presented in a formative setting.

Through problem based learning and case study research, students will be encouraged to critically evaluate their

music event.



work presented.

118

Learning Outcomes


1. As a member of a team, autonomously plan, develop, promote and implement a high quality publically

accessible live event.

2. Demonstrate the use of project management, programming and financial tools within an event management

context, with limited guidance.

3. Critical evaluate the strength and weaknesses of the music event and deliver a robust analysis of the event’s

success.



Outcomes Addressed



Assessment Week

1 Event ‘processes’.

6 ‘sign off’ processes


2 Portfolio. 500 words or equivalent.


3 Critical reflection.


3 30% Summative 30


1. Assessment one involves the organisation and promotion of a live music event. Working in a team, define job

roles, develop, brand, source a venue and artists, implement, organise and promote a music event that is

open to the general public. The event’s framework will be co-ordinated autonomously by you & your team –

with little input by the TMS management (with the exception of providing support due to unforeseen

circumstances). You and your group’s role will be to structure, manage and deliver the event’s successful

implementation. Demonstrate a theoretical understanding of the key stages involved and apply that

understanding to the organisation of a live music event. The event can feature any theme, branding, musicality

and structure you see fit - it can feature artists and performers from any sector of the industry (not just TMS

based artists). During the event’s actual implementation you will assessed on a selection of appropriate

‘processes’, these include, by are not limited to, artist and material short listing, rehearsal co-ordination,

marketing and promotion, branding, load in and backline management etc. During the events timeline, each

process will need to be signed off as successfully implemented by your assessing tutor.

2. Alongside this group work, you are also required to submit an autonomous project management portfolio (500

words or equivalent) that encapsulates timeline, budget programming and show management. Your portfolio

must follow standard academic conventions whenever possible (i.e. third person narrative, referencing,

bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more

119

details. A high level of independent, autonomous work is expected during this event with examples of solid

practical schematics and high order critical thinking skills (suitable for a level 6 module).

3. You will be required to submit a 1500 word (circa +/- 10%) critical reflection of the live event used for

assessment one. Explore the planning, pre production, organisation, promotion, attendance, musicality and

success of your live music event. Demonstrate a theoretical understanding of the key stages involved in the

live event and apply that understanding to a critical reflection. Document your evidence into an independently

written critique (i.e. not group work). Write a post-event report analysing and evaluating the event’s creation,

development and management processes and providing a balanced and objective summary as to what could

be changed and developed in order to better produce future events. You may include additional material to

support your reflection, such as (but is not limited to) production plans, budget and final costings, promotion

evidence, artist contracts and management evidence. This may be submitted in a myriad of formats such as

planning proforma’s, a costing analysis, flyer, press release, written text etc. More details will be made

available during class time. You paper must follow standard academic conventions (i.e. third person narrative,

referencing, bibliography etc). Submission is via a PDF file delivered to the TMS VLE. See the student


120

Assessment Criteria


Assessment method

1. As a member of a team, autonomously plan, develop, promote and implement a high quality real world music event.

Work as a member of a team to organise and promote a music event. Assessment feedback will be subdivided into areas such as:



Promotion and PR.


Merchandising.


Event ‘processes’. Portfolio.

2. Demonstrate the use of project management, programming and financial tools within an event management context, with limited guidance.

Construct autonomously project management skills within a live event context. Assessment feedback will be subdivided into areas such as:

Budget.

Timeline.

Programming schedule.

Design procedures.

Marketing plan.

Floor plan / show plan.

Event ‘processes’. Portfolio.

3. Critical evaluate the strength and weaknesses of the music event and deliver a robust analysis of the event’s success.

Demonstrate a critical evaluation of the success and execution of the project. Assessment feedback will be subdivided into areas such as:

Analysis.

Content.

Critique.

Literacy.

Referencing.

Bibliography.

Presentation.

Critical reflection.

121

Reading List

Core texts:


Additional Texts:

Atkins, M. (2007) Tour: Smart: and Break the Band. USA. Soluble LLC

Barnet, R.; Waddell, J. (2007) This Business of Concert Promotion and Touring. UK. Watson-Guptill




Reynolds, A. (2007) Tour Book: How To Get YOUR Music on the Road. UK Cengage


122

TMSMP604: Dissertation

Key Information



Module Level: 6

Module Credits: 20



Teaching & Learning

Lectures: 1 x 1-hour lectures per week for 9 weeks (9 hours) in term 1

Tutorials: 8-hours supervision over 20 weeks in terms 2/3


Module Leader & Tutors

Module Leader: Phelan Kane

Tutors: Phelan Kane

Module Summary

This module is designed to offer you the tools and experience to complete a dissertation on a chosen subject within

the scope of the music and entertainment industries. Working under supervision from an industry specialist you can

apply the skills and music business knowledge acquired throughout the course to identify research and write a

dissertation on a chosen topic within the framework of the music and entertainment industries.

During the pathway of this module you have the opportunity to demonstrate an understanding of research methods,

academic writing and the broader context of your chosen subject and to present all of these findings in a coherent and

original argument in the form of an academic dissertation. The assessment takes the form of a substantial paper

suitable for a Level 6 module (i.e. third person narrative, research, critique, referencing, bibliography etc). The writing

will feature a solid analysis, conceptualisation and critique of the idiom defined by your abstract.

The module begins with you attending a research methodology lecture series during term one that is designed to

empower you to undertake research suitable for a level six module. These classes form part of the Music Project

model but are also structured to benefit your progress on the Dissertation module. In week nine you will submit an

outline plan stipulating an overview of your product and the desired area of conceptualisation. You will then be

assigned a supervisor from the faculty. The role of the outline plan is to present an introductory overview with which

you can build upon via research under supervision. Your plan may change by the end of the module. During terms two

and three the project becomes more self-driven with you receiving eight hours of support supervision by your relevant

faculty member. The role of the supervisor is to support your cognitive workflow and focus your chosen concept.

123

Module Aims

To plan, manage and deliver a substantial academic paper whose remit centres upon music industry

parameters.

To develop research methodologies and apply them to a suitable chosen schema via presenting a

heightened piece of academic writing that encapsulates appropriate referencing, presentation and writing

style for a level 6 module.


Choosing a theme.

Building an outline plan.

Academic writing conventions.

Quantative and qualitative research methodologies.

Building an abstract.

Primary and secondary evidence.

Supplementary portfolios.

Bibliographies and appendices

Teaching & Learning Methods The research methodology section of the module will be delivered in all discipline groups in a lecture format. Concepts

will be explained and demonstrated using appropriate media such as classroom whiteboard, audio recordings,

references to hand outs and other works alongside overhead projection technologies. Student interaction will be

encouraged in the form of discussions and Q&A. Students will also be encouraged to begin to evaluate their own

research portfolio under guidance by the tutor. Advice will also be given on time management, planning, presentation

and critique.

As a Level 6 module, the Dissertation module falls into the self-directed, autonomous theme that is current at most

Level 6 modules. During terms two and three, limited supervision is provided and you are expected to independently

manage your workflow.


1. Construct an outline plan for a substantial written portfolio that defines broadly theme, concept and intended

schema.

2. Autonomously engage in a substantial written paper defined within a music industry related paradigm that

exhibits high level structure, production, argument and critique with limited supervision.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret

said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is

suitably presented and referenced.

124

Assessment

No Summative Assessment


Outcomes Addressed


Assessment Week

1. Outline plan.

1000 word plan.

1 20% 9

2. Dissertation. 4000 word paper

2, 3, 80% 29

Assessment Brief Your work will be assessed according to the below schedule: 1. In week nine you will submit an outline plan (1000 word critique - circa +/- 10%) stipulating an overview of your

dissertation and the desired paradigm of study. Apply appropriate research techniques to explore your chosen

theme and produce and present a clearly defined first draft abstract. You will then be assigned a suitable

supervisor from the faculty. The role of the outline plan is to present an introductory overview with which you can

build upon via research under supervision. Your plan may change by the end of the module. The plan should

follow the desired writing style (i.e. third person narrative), feature good literacy, contain referencing that conforms

to the Harvard convention, posses a suitable bibliography and be of a suitable cognitive form for a Level 6 module.

Submission is via a PDF file delivered to the TMS VLE. See the student handbook for more details.

2. Assessment two is the submission of the final Dissertation; a 4000 word critique (circa +/- 10%) exploring your

chosen music industry related paradigm. Across the course of terms two and three you’re chosen subject matter

will grow under the supervision of your assigned faculty member. The paper should define and present an

overview of your theme, research based analysis of the subject matter, presentation of argument and critique and

conclusion of your findings. You should follow the desired writing style (i.e. third person narrative), feature good

literacy, contain referencing that conforms to the Harvard convention, posses a suitable bibliography and be of a

suitable cognitive form for a Level 6 module. There is scope within the dissertation to submit any additional

supplementary research material if desired. These can take the form of (but are not limited to): transcripts of

personal interviews, quantitative data models and charts, marketing data, branding and image content, software

screen grabs and photographical evidence. Submission is via a PDF file delivered to the TMS VLE. See the


125

Assessment Criteria


Assessment method

1. Construct an outline plan for a substantial written portfolio that defines broadly theme, concept and intended schema.

Direct and deliver an autonomous outline plan. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.

Outline plan.

2. Autonomously engage in a substantial written paper defined within a music industry related paradigm that exhibits high level structure, production, argument and critique with limited supervision.

Self manage and deliver a robust, lucid portfolio. Plan their workload, achieve set goals, manage and organise their project. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.

Dissertation.

3. Develop and present appropriate research methodologies that encapsulate a broad range of sources. Interpret said sources in a robust cognitive manner, focused on a pertinent, concise theme. Assemble work that is suitably presented and referenced.

Utilise qualitative and/or quantitative research techniques from a myriad of sources and form a compelling argument. Deliver a suitably formatted portfolio. Assessment feedback will be subdivided into areas such as:

Cohesion/Structure.

Subject/Theme.

Research.

Literacy.

Cognition.

Presentation.

Critique.

Dissertation.

126

Reading List

Core texts:


Additional texts:

Davies, M. (2007) Doing a Successful Research Project: Using Qualitative or Quantitative Methods. London: Palgrave

Macmillan.

Dawson, C. (2009). Introduction to Research Methods: A Practical Guide for Anyone Undertaking a Research Project.

4th ed. London: How To Books Ltd.

Neville, C. (2010) The Complete Guide to Referencing and Avoiding Plagiarism (Open Up Study Skills). London: Open

University Press.

Pears, R. and Shields, G. (2010) Cite them right: the essential referencing guide. 8th ed. Basingstoke: Palgrave

Macmillan.

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