BA (Hons) in Professional Musicianship Year 3

2012 - 2013
Course Handbook

BA (Hons) Professional Musicianship Year 3 2012-2013

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Contents
Welcome ................................................................................................................... 7 Relationship with the University of Sussex ........................................................... 8 Dates & Times .......................................................................................................... 9 Course Specification.............................................................................................. 10 Overview ................................................................................................................. 12
Educational Aims .......................................................................................................................... 13 BA Year 1 Level 4 Course Learning Outcomes ........................................................................... 14 BA Yr. 2 Level 5 Course Learning Outcomes .............................................................................. 15 BA Yr. 3 Level 6 Course Learning Outcomes .............................................................................. 16 Core Structure Diagram Instrumental Stream ........................................................................... 17 BA Structure (Drums, Bass, Guitar & Vocals) .............................................................................. 19 Module Codes (Instrumental Stream) .......................................................................................... 20 Core Structure Diagram Songwriting Stream ............................................................................ 21 BA Structure - Songwriters ........................................................................................................... 22 Module Codes .............................................................................................................................. 23 Major Themes............................................................................................................................... 24

BA Assessment Calendar Year 3 Level 6 ............................................................. 25 Module Study Guides ............................................................................................. 26

BIMM 20 Professional Project .................................................................................. 26
Module Leader & Tutors ............................................................................................................... 26 Module Summary ......................................................................................................................... 26 Aims .............................................................................................................................................. 27 Indicative Study Topics ................................................................................................................ 27 Teaching & Learning Methods ..................................................................................................... 28 Formative Assessment ................................................................................................................. 28 Learning Outcomes ...................................................................................................................... 28 Assessment .................................................................................................................................. 29 Assignment Brief .......................................................................................................................... 29 Assessment Criteria ..................................................................................................................... 32 Marking Scheme........................................................................................................................... 33 Reading List .................................................................................................................................. 36

BIMM 17 Personal & Business Development .......................................................... 37

Module Leader & Tutors ............................................................................................................... 37 Module Summary ......................................................................................................................... 37 Aims .............................................................................................................................................. 38 Indicative Study Topics ................................................................................................................ 38 Teaching & Learning Methods ..................................................................................................... 38 Formative Assessment ................................................................................................................. 38 Learning Outcomes ...................................................................................................................... 39 Assessment .................................................................................................................................. 39 Assignment Brief: ......................................................................................................................... 39 Assessment Criteria ..................................................................................................................... 40 Marking Scheme........................................................................................................................... 41 Reading List .................................................................................................................................. 42

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 21 Analytical Perspectives ............................................................................. 43

Module Leader & Tutors ............................................................................................................... 43 Module Summary ......................................................................................................................... 43 Aims .............................................................................................................................................. 44 Indicative Study Topics ................................................................................................................ 44 Teaching & Learning Methods ..................................................................................................... 44 Formative Assessment ................................................................................................................. 45 Learning Outcomes ...................................................................................................................... 45 Assessment .................................................................................................................................. 45 Assignment Brief .......................................................................................................................... 46 Assessment Criteria ..................................................................................................................... 47 Marking Scheme........................................................................................................................... 48 Reading List .................................................................................................................................. 49

BIMM 26 Commercial Songwriting ........................................................................... 51

Module Leader & Tutors ............................................................................................................... 51 Module Summary ......................................................................................................................... 51 Aims .............................................................................................................................................. 52 Indicative Study Topics ................................................................................................................ 52 Teaching & Learning Methods ..................................................................................................... 52 Formative Assessment ................................................................................................................. 52 Learning Outcomes ...................................................................................................................... 53 Assessment .................................................................................................................................. 53 Assignment Brief .......................................................................................................................... 54 Assessment Criteria ..................................................................................................................... 55 Marking Scheme........................................................................................................................... 56 Reading List .................................................................................................................................. 57

BIMM 15 Music Business Studies ............................................................................ 58

Module Leader & Tutors ............................................................................................................... 58 Module Summary ......................................................................................................................... 58 Aims .............................................................................................................................................. 59 Indicative Study Topics ................................................................................................................ 59 Teaching & Learning Methods ..................................................................................................... 59 Formative Assessment ................................................................................................................. 59 Learning Outcomes ...................................................................................................................... 60 Assessment .................................................................................................................................. 60 Assignment Brief .......................................................................................................................... 61 Assessment Criteria ..................................................................................................................... 62 Marking Scheme........................................................................................................................... 63 Reading List .................................................................................................................................. 65

BIMM 16 Music Teaching Practice ........................................................................... 66

Module Leader & Tutors ............................................................................................................... 66 Module Summary ......................................................................................................................... 66 Aims .............................................................................................................................................. 67 Indicative Study Topics ................................................................................................................ 67 Teaching & Learning Methods ..................................................................................................... 67 Formative Assessment ................................................................................................................. 67 Learning Outcomes ...................................................................................................................... 68 Assessment .................................................................................................................................. 68 Assignment Brief .......................................................................................................................... 69 Assessment Criteria ..................................................................................................................... 70 Marking Scheme........................................................................................................................... 71 Reading List .................................................................................................................................. 73

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 18 - Solo Performance .................................................................................... 74

Module Leader & Tutors ............................................................................................................... 74 Module Summary ......................................................................................................................... 74 Aims .............................................................................................................................................. 75 Indicative Study Topics ................................................................................................................ 75 Teaching & Learning Methods ..................................................................................................... 75 Formative Assessment ................................................................................................................. 75 Learning Outcomes ...................................................................................................................... 76 Assessment .................................................................................................................................. 76 Assignment Brief .......................................................................................................................... 76 Assessment Criteria ..................................................................................................................... 77 Marking Scheme........................................................................................................................... 78 Reading List .................................................................................................................................. 79

BIMM 19 Ensemble Performance ............................................................................. 80

Module Leader & Tutors ............................................................................................................... 80 Module Summary ......................................................................................................................... 80 Aims .............................................................................................................................................. 81 Indicative Study Topics ................................................................................................................ 81 Teaching & Learning Methods ..................................................................................................... 81 Formative Assessment ................................................................................................................. 82 Learning Outcomes ...................................................................................................................... 82 Assessment .................................................................................................................................. 82 Assignment Brief .......................................................................................................................... 83 Assessment Criteria ..................................................................................................................... 84 Marking Scheme........................................................................................................................... 85 Reading List .................................................................................................................................. 87

An Example of a Weekly Practice/Study Planner ................................................ 88 General Information ............................................................................................... 89 Resources ............................................................................................................... 94 Physical Resources ............................................................................................... 96
Brighton Resources Inventory .................................................................................................... 102 EBSCO Electronic Library Books ............................................................................................... 102

Student Services .................................................................................................. 124

Careers Advice ........................................................................................................................... 124 Academic Support and Tutorials ................................................................................................ 124 Arrangements for Oversight and Formal Monitoring of Student Progress ................................. 124 Pastoral and Welfare Arrangements .......................................................................................... 124 Learning Support ........................................................................................................................ 125 Disability Strategy ....................................................................................................................... 125 Board of Studies ......................................................................................................................... 125 A&R System ............................................................................................................................... 126 HE Absence Reporting ............................................................................................................... 126 Authorised Professional Activity ................................................................................................. 127 HE Course Leaders .................................................................................................................... 128 Guidance for Course Leaders .................................................................................................... 128 Lateness ..................................................................................................................................... 128

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Teaching & Learning ............................................................................................ 130

Teaching and Learning Strategy ................................................................................................ 130 Teaching & Learning practice reflects the stages of assessment through the BA Hons: .......... 131 The Curriculum ........................................................................................................................... 131 One to One Tutorial Time ........................................................................................................... 133 Arrangements for Work-Based Learning (WBL) ........................................................................ 133 Arrangements for preparing and supervising students undertaking projects ............................. 134 Tutorial Support .......................................................................................................................... 135 Preparation for the Professional Project..................................................................................... 135

General & Assessment Regulations ................................................................... 136

Submission of Work for Assessment.......................................................................................... 136 Referencing The Harvard Reference System (HRS) .............................................................. 138 Extensions for Students with Registered Learning Difficulties ................................................... 141 Anonymity in the Submission and Marking of Work ................................................................... 141 Procedures for Double Marking.................................................................................................. 141 Return of Marks .......................................................................................................................... 142 External Assessment .................................................................................................................. 142 Failure of modules or failure of pass required assessments .................................................... 142 Mitigating Evidence Committee (MEC) ...................................................................................... 142 Failure of modules or failure of pass required assessments .................................................... 147 Resits .......................................................................................................................................... 147 Arrangements for intermission ................................................................................................... 148 Drugs and Alcohol ...................................................................................................................... 148 Award Criteria and Classification Overview ............................................................................... 149 Generic Marking Scheme ........................................................................................................... 149 General Marking Scheme BA (Hons) Professional Musicianship .............................................. 150

Policy on plagiarism, collusion and misconduct .............................................. 153

Academic misconduct ................................................................................................................ 153 Collusion ..................................................................................................................................... 153 Plagiarism ................................................................................................................................... 153 Personation ................................................................................................................................ 154 Misconduct in unseen examinations .......................................................................................... 154 Fabrication of results .................................................................................................................. 154 Non-Contributory Work ............................................................................................................... 154 Investigation of misconduct ........................................................................................................ 154 Investigating Officer .................................................................................................................... 155 Types of Misconduct................................................................................................................... 155 Minor misconduct ....................................................................................................................... 155 Major misconduct ....................................................................................................................... 156 No Case ...................................................................................................................................... 156 Procedures for determining allegations of misconduct .............................................................. 156 Procedure for a first case of plagiarism ...................................................................................... 157 Procedure for minor misconduct (other than a first case of plagiarism) ..................................... 158 Conduct of the hearing ............................................................................................................... 160 Admission of accusation ............................................................................................................. 160 Denial of accusation ................................................................................................................... 160 Not guilty ..................................................................................................................................... 161 Guilty .......................................................................................................................................... 161 Second offence........................................................................................................................... 161 Penalties to be applied ............................................................................................................... 162 Examination Boards ................................................................................................................... 163 Appeals ....................................................................................................................................... 163

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Annual Monitoring Procedures ........................................................................... 165 Harassment & Bullying ........................................................................................ 166
Definitions of Harassment .......................................................................................................... 166 Definitions of Bullying ................................................................................................................. 166 Taking the Matter Up .................................................................................................................. 166 Taking it up with the person concerned:..................................................................................... 166 Taking informal advice ............................................................................................................... 166 Formal processes ....................................................................................................................... 167 Student Discipline ....................................................................................................................... 167

Complaints and Appeals Procedures ................................................................. 168 Equal Opportunities and Diversity Policy .......................................................... 179
Mission Statement ...................................................................................................................... 179 Our Purpose ............................................................................................................................... 179 Equal Opportunities Policy Statement ........................................................................................ 179 Who it applies to: ........................................................................................................................ 179 General Principles ...................................................................................................................... 179 Responsibilities ........................................................................................................................... 180 Managers across BIMM will: ...................................................................................................... 180 Staff within BIMM will:................................................................................................................. 180 All learners will: ........................................................................................................................... 180 Positive Action ............................................................................................................................ 180 Redress ...................................................................................................................................... 180 Code of Practice ......................................................................................................................... 181 We expect all learners to: ........................................................................................................... 181

Data Protection ..................................................................................................... 182

Why we need to hold personal data? ......................................................................................... 182 Disclosure of data ....................................................................................................................... 182 Access to data ............................................................................................................................ 183 Accuracy ..................................................................................................................................... 183 Sensitive Data ............................................................................................................................ 183 Ethnic origin ................................................................................................................................ 184 Health and disability ................................................................................................................... 184 Commission of an offence .......................................................................................................... 184

BA Assessment Regulations .............................................................................. 185

BA (Hons) in Professional Musicianship (one year full-time course) ......................................... 191

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Welcome
Dear Musician Welcome to the BA (Hons) Degree in Professional Musicianship. This course provides the opportunity for you to develop working professional projects whilst completing an honours degree. It is important to remember that while we are committed to providing the highest levels of teaching, career guidance and academic rigour it is up to you to make the projects actually happen. The more focused your goals in the early stages of the course, the easier it will be for us to help you. The potential rewards are great for those musicians who accept responsibility, work hard and make full use of the resources here at BIMM. Good luck, and dont forget were here to help with any problems you may encounter. Vaseema Hamilton - Principal

Welcome, We hope you find your time here enjoyable and beneficial as this is an exciting time for your development as a musician. Our staff consists of dedicated individuals active in all areas of the music business who are dedicated to excellence in their chosen fields and in their teaching. I hope you to look at your time here with us as a unique opportunity to develop your talent, skills and knowledge. I wish you the best of luck on your studies and your career! Scott McGill BA Course Leader

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Relationship with the University of Sussex

The BA (Hons) in Professional Musicianship is validated by the University of Sussex. All successful graduates will therefore receive the award of Bachelor of Arts from the University of Sussex, as the degree-awarding body. The University is responsible for assuring the quality of the degree course, ensuring that the curriculum content and all teaching, learning and assessment is at an appropriate level for the award. The University also ensures that BIMM has mechanisms for assuring and enhancing the delivery of the course and the overall quality of the student experience. Students are registered directly with BIMM, which is responsible for all aspects of student support and administration. Academic linkage between the University and BIMM is provided by the Universitys academic link tutor, Dr. Nicholas McKay from the school of Media Film and Music, who liaises with BIMM, chairs the Universitys examination board for the course, sits on the HE Forum and provides academic support as required. On-going quality assurance work is undertaken by the University, which includes the appointment of two external examiners who are external to both the University and BIMM and report annually on the course. Actions from this report are fed into the annual monitoring process.

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Dates & Times

Term Dates 2012-2013 Academic Year Induction week: Autumn Term: Spring Term: Summer Term: Timetables Individual timetables will be confirmed in the preparatory period at the beginning of the academic year. The majority of classes will take place during office hours 9.00am-6.00pm. Classes will be held at: BIMM West BIMM East BIMM House Induction Week Before the start of the academic year all students are required to be available for Induction Week. The week will include introductions, enrolment and provision of course information and timetables, together with talks from Mark Irwin Assistant Principal HE and Quality and BIMM staff about the year ahead. It will also include induction to University of Sussex (Library, Student IT services and Student Union). The week also provides an opportunity to ask questions about any aspect of the coming year. Bank Holidays BIMM will be shut on these Bank Holidays, which fall within term time: Monday Monday May 6th 2013 May 27th 2013 38-42 Brunswick St. West, Hove, BN3 1EL 7 Rock Place, Brighton BN2 1PF 64 Brunswick St. West, Hove, BN3 1EL Week of the 1st October 2012 8th October 2012 to 14th December 2012 7th January 2013 to 15th March 2013 8th April 2013 to 14th June 2013

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Course Specification
Full Title of the Course & Award Mode of Attendance Length of course BA (Hons) in Professional Musicianship Full-time This course is taught as either a three-year course at levels 4, 5 and 6, or a one-year top-up course at level 6 available only to those successfully completing the FdA in Professional Musicianship at BIMM Brighton. Initial validation of two-year course in 2003: first cohort 2003/04. Revalidation of two-year course and validation of one-year course in 2006: first cohorts 2006/07 Revalidation of 1 year & 2 year course plus Diploma exit award April 2009: first cohorts 2009/10 University of Sussex Brighton Institute of Modern Music N/A direct applications English Certificate of Higher Education Diploma of Higher Education (exit award only at level 5) Bachelors Degree with Honours 120 credits at Level 4 120 credits at Level 5 120 credits at Level 6 QAA Subject Benchmark in Music (2008) FHEQ (2008) QAA Code of Practice (2004-2010) QAA Guidance on Programme Specifications (2006) UoS Partnership Procedures (2010-11) For the three-year course at levels 4,5, and 6: 3 years 9 years (3 year Course) 5 years (1 year Course)

Start date

Awarding Institution Teaching Institution UCAS Code Language of Study Final Award

FHEQ Level

Reference Points

Minimum Period of Registration Maximum Period of Registration

10

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Admissions Criteria 80 UCAS tariff score (2 A levels at grade E) An equivalent qualification or experiential learning is acceptable via our AP(E)L processes Trinity Grade 6 or above (or equivalent) playing skills is the normal requirement May 2011 November 2011

Date of Course Specification: Revisions:

11

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Overview
The course is designed specifically for performing artists, songwriters, music teachers, and those running commercial music projects, who want to gain a degree level qualification while at the same time fulfilling their creative and commercial potential. The course encourages musicians to develop realistic and attainable career goals using a deadline-driven project element to bring focus to the individuals aspirations. Students have an obligation to develop their critical, analytical and reflective faculties. This is pursued while developing the high levels of technical musicianship required of professional musicians. Alongside the attainment of these 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 practice logs, reflective elements, learning diaries and various forms of research project. Musicians 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 individuals progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Course Leader and the individual student. Recognising the need for musicians 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: Technical awareness and competence Performance awareness and competence Project management and music business studies Research methods Commercial composition and arrangement

A consistent theme throughout the course is reflection, requiring students to examine and learn from their experiences. The goal of the course is to assist musicians in becoming life-long, self-reliant learners, capable of determining their own future and professional progression.

12

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Educational Aims
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 technical skill. In particular, the course aims to enable students to develop: A range of physical, creative, technical and performance skills relevant to employment in professional musicianship and the creative industries 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 business and the creative process in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in music and the music industry The ability to make creative use of and experiment with new and existing methodologies in contemporary professional musical practice 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 professional musicianship Transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry To describe, comment upon, analyse and discuss particular aspects of current research or equivalent advanced scholarship at the forefront of contemporary popular music and the music industry An appreciation and recognition of the uncertainty, ambiguity and limits of knowledge within music and 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 professional musicianship.

13

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Year 1 Level 4 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of key issues in their area(s) of study A2. Identify practices and structures within professional contexts A3. Learn and apply new concepts within a variety of contexts A4. Identify and reproduce symbols representing music and apply aural skills Intellectual (thinking) skills Able to: B1. Communicate ideas clearly via visual, verbal and written modes of expression B2. Analyse information and summarise concepts B3. Explore a range of appropriate reading material and discuss the findings B4. Acknowledge quotations from others work Subject practical skills Able to: C1. Demonstrate appropriate technical skills in relation to instrumental or vocal performance or in composition C2. Implement appropriate forms of musical expression, demonstrating an awareness of spiritual or emotional elements C3. Reproduce key aspects of musical styles and genres C4. Apply skills necessary to performing music C5. Demonstrate awareness of professional protocols and practices Key/Transferable skills Able to: D1. Employ Information and Communication Technology (word-processing, e-mail, online sources and other electronic information services) appropriately D2. Undergo disciplined professional development: practice, learn new repertoires, obtain new skills, identify career options D3. Employ initiative and time management skills to carry creative and other projects to completion D4. Present work in public, as appropriate to a range of professional contexts D5. Utilise interpersonal skills to communicate ideas clearly and unambiguously within collaborative contexts D6. Identify career options and access routes to employment within a variety of appropriate contexts D7. Evaluate ones own work to inform further professional development

14

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Yr. 2 Level 5 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of the key issues in their area(s) of study, and an appreciation of why these areas are important A2. Identify, decode, rework and reproduce symbols representing music A3. Digest pertinent academic literature and relate it to music practice A4. Apply concepts from fields of study to a related area of practice A5. Make connections between the historical, social, cultural, political, philosophical, economic context of music Intellectual (thinking) skills Able to: B1. Collect, combine and appraise information, using quotes from appropriate texts B2. Analyse information to create and evaluate relevant arguments and ideas B3. Acknowledge quotations and ideas from others work and question their hypotheses and assumptions B4. Conceptualise and apply pertinent theories and concepts in relation to their own work Subject practical skills Able to: C1. Demonstrate technical proficiency and sustained application of skills in relation to instrumental or vocal performance or in composition C2. Identify the human mechanics and psychology involved in playing an instrument or singing C3. Implement appropriate forms of expression to perform music convincingly C4. Identify musical styles and genres aurally or by written score C5. Utilise appropriate musical equipment for creating music C6. Perform effectively as part of an ensemble Key/Transferable skills Able to: D1. Employ information and communication technology (word processing, e-mail, online sources and other electronic information services) appropriately D2. Present work in public, recognising audience expectations D3. Use appropriate professional procedures D4. Utilize disciplined professional development: practice, learn new repertoires, explore freelance opportunities, obtain new skills, initiate career moves D5. Apply time management skills to demonstrate reliability and consistency

15

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Yr. 3 Level 6 Course Learning Outcomes

Knowledge and understanding Able to: A1. Demonstrate comprehension of key aspects in their field of study based on the latest advances in their discipline A2. Evaluate theoretical and aesthetic concepts, relating them to practice A3. Draw upon a varied repertoire A4. Discover and assimilate new musical sounds, concepts and repertoires Intellectual (thinking) skills Able to: B1. Synthesise techniques of analysis and enquiry using established procedures B2. Discuss, debate and appraise issues in current research and scholarship B3. Acknowledge and evaluate the imperfections and limits of understanding within the discipline B4. Combine inputs (materials, knowledge, intuition, convention) to generate informed and original outputs in written, aural and practical work B5. Propose, prepare, execute and appraise original work Subject practical skills Able to: C1. Compose or select a performance repertoire that demonstrate stylistic versatility and personal strengths C2. Employ original ideas in an imaginative way C3. Draw upon contextual knowledge, musical analysis, personal development and listening skills to creatively interpret the chosen repertoire C4. Execute work effectively, acknowledging and responding to an audience Key/Transferable skills Able to: D1. Direct their own learning, drawing on scholarly material such as research articles and/or original materials D2. Work as a productive member of a team, responding to others and demonstrating awareness of partnership and leadership roles and responsibilities D3. Synthesise original concepts from others, and present the results effectively D4. Employ self-guided learning and work routines to create ones own timetables, ensuring sufficient preparation time and meeting deadlines D5. Apply problem-solving skills to cope with new situations, translate information and ideas, manage difficult situations, and work effectively with others under pressure D6. Use reflective practice and critical thinking to undertake informed personal, academic and professional development.

16

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Core Structure Diagram Instrumental Stream

*For simplicity & clarity we have separated Instrumental & songwriting streams

Definition of Modules: There are two types of modules: (i) Optional (or elective) one of a group of modules that may be selected. (ii) Mandatory for programme a module that contains programme- specific learning outcomes not secured elsewhere in the programme. Such a module must be passed to achieve the overall award. Level 5/Year Two Students take six modules. Mandatory modules are in bold and students select two of five optional modules. Students must take at least one module from Optional Modules Group A (Performance). Module Title Research Methods Professional Musicianship Cultural Perspectives Theory & Transcription Optional Modules Group A (Performance): Performance in Context Commercial Band Management Studio Musicianship Optional Modules Group B: The Songwriter/Producer** Studio Recording Music Publishing Module Code BIMM 05 BIMM 06 BIMM 07 BIMM 23 BIMM 08 BIMM 11 BIMM 10 BIMM 25 BIMM 12 BIMM 27 Credit points 20 20 20 20 20 20 20 20 20 20

** BIMM25 Songwriter/Producer is not a beginners songwriting module. Students wishing to choose this course must provide a demo of at least one co-written song as part of their module selection at the end of BA Y1 for approval by the BIMM25 Module Leader before acceptance.

17

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Level 6/Year Three Students take five modules. Mandatory modules are in bold and students select two of five optional modules. Students must take at least one module from Optional Group A (Performance Modules). Module Title Module Code Credit points 40 20 20

Professional Project BIMM 20 Personal and Business Development BIMM 17 Analytical Perspectives BIMM 21 Optional Modules Group A (Performance): Solo Performance*** BIMM 18 20 Ensemble Performance BIMM 19 20 Commercial Songwriting BIMM 26 20 Optional Modules Group B: Music Business Studies BIMM 15 20 Music Teaching Practice BIMM 16 20 *** BIMM18 Solo Performance is a high-level performance course. Students selecting this module must attain a minimum 60% or higher in BA Y2 Professional Musicianship (or equivalent).

18

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Structure (Drums, Bass, Guitar & Vocals)

Level 4 - 120 credits Essential Styles Techniques Music Business & Study Skills Artist Development and Entrepreneaurship Live Performance Workshop

Level 5 - 120 credits Research Methods Professional Musicianship Cultural Perspectives Theory & Transcription

Level 6 - 120 credits

Professional Project (40 credits)

Personal & Business Dev Analytical Perspectives

Core (compulsory Modules)

Core (compulsory Modules)

Group A:

Group A:

Music Theory and Notation

Performance In Context Commercial Band Management Studio Musicianship Group B: Studio Recording Group B:

Solo Performance Ensemble Performance Commercial Songwriting

Music Teaching Practice Music Business Studies

All modules core at level 4

The Songwriter-Producer Music Publishing

19

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Module Codes (Instrumental Stream)

Code BIMM01 BIMM02 BIMM03 BIMM04 BIMM28 BIMM29 (6) BIMM05 BIMM06 BIMM07 BIMM23 BIMM08 BIMM10 BIMM11 BIMM12 BIMM25 (4 & 2) BIMM20 BIMM17 BIMM21 BIMM26 BIMM15 BIMM16 BIMM18 BIMM19 (3 & 2) Year 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 FHEQ Level 4 4 4 4 4 4 5 5 5 5 5 5 5 5 5 6 6 6 6 6 6 6 6 Title Essential Styles Techniques Music Business & Study Skills Artist Development and Entrepreneurship Live Performance Workshop Music Theory and Notation Research Methods Professional Musicianship Cultural Perspectives Theory & Transcription Performance In Context Studio Musicianship Commercial Band Management Studio Recording The Songwriter/Producer Professional Project Personal & Business Development Analytical Perspectives Commercial Songwriting Music Business Studies Music Teaching Practice Solo Performance Ensemble Performance Credits 20 20 20 20 20 20 (120) 20 20 20 20 20 20 20 20 20 (120) 40 20 20 20 20 20 20 20 (240)

20

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Core Structure Diagram Songwriting Stream

Definition of Modules:
Mandatory- for- programme module - a module that contains programme- specific learning outcomes not secured elsewhere in the programme. Such a module must be passed to achieve the overall award. Optional modules - an optional module is chosen by the student from the options provided and is not mandatory for progression or award. Level 5/Year Two Students take six modules. Mandatory for programme modules are in bold and students select one of four optional modules. All modules run throughout the academic year (30 weeks).
Module Title Research Methods Cultural Perspectives Theory & Transcription Music Publishing The Songwriter/Producer Optional Modules: Performance in Context Commercial Band Management Studio Musicianship Studio Recording BIMM 08 BIMM 11 BIMM 10 BIMM 12 20 20 20 20 Module Code BIMM 05 BIMM 07 BIMM 23 BIMM 27 BIMM 25 Credit points 20 20 20 20 20

Level 6/Year Three Students take five modules. Mandatory for programme are in bold and students select one of four optional modules. All modules run throughout the academic year (30 weeks).
Module Title Professional Project Personal and Business Development Analytical Perspectives Commercial Songwriting Optional Modules: Solo Performance Ensemble Performance Music Business Studies Music Teaching Practice BIMM 18 BIMM 19 BIMM 15 BIMM 16 20 20 20 20 Module Code BIMM 20 BIMM 17 BIMM 21 BIMM 26 Credit points 40 20 20 20

21

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Structure - Songwriters

Songwriting Core modules (120 credits) Songwriting Techniques Arrangement Analysis Music Business & Study Skills Artist Development & Ent Live Performance Workshop Music Theory & Arrangement

Core and elective 120 credits Research Methods

Core & elective 120 credits

Professional Project (40 credits) Cultural Perspectives Theory & Transcription Music Publishing The Songwriter/Producer Plus 1x20 credit elective from choice below: Studio Musicianship Commercial Band Mgt Studio Recording Performance In Context Analytical Perspectives Personal/Business Dev Commercial Songwriting Plus 1x20 credit elective from choice below: Solo Performance Music Teaching Practice Music Business Studies Ensemble Performance BA Level 5 BA Level 6

BA Level 4

BA Progression - Songwriting Stream

22

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Module Codes
Code BIMM31 BIMM32 BIMM03 BIMM04 BIMM35 BIMM36 (6) BIMM05 BIMM07 BIMM23 BIMM08 BIMM10 BIMM11 BIMM12 BIMM25 BIMM27 (5 & 1) BIMM20 BIMM17 BIMM21 BIMM26 BIMM15 BIMM16 BIMM18 BIMM19 (4 & 1) Year 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 FHEQ Level 4 4 4 4 4 4 5 5 5 5 5 5 5 5 5 6 6 6 6 6 6 6 6 Title Songwriting Techniques Arrangement Analysis Music Business & Study Skills Artist Development and Entrepreneurship Live Performance Workshop (SW) Music Theory and Arrangement Research Methods Cultural Perspectives Theory & Transcription Performance In Context Studio Musicianship Commercial Band Management Studio Recording The Songwriter/Producer Music Publishing Professional Project Personal & Business Development Analytical Perspectives Commercial Songwriting Music Business Studies Music Teaching Practice Solo Performance Ensemble Performance Credits 20 20 20 20 20 20 (120) 20 20 20 20 20 20 20 20 20 (120) 40 20 20 20 20 20 20 20 (240)

23

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Major Themes
The curriculum is designed to mimic the learning experiences that a young artist or professional musician would experience within their apprenticeship in the industry. With this in mind, the courses are offered within specialist disciplines and focus is placed on the development of high-level instrumental skills. Alongside these skills students develop key business, personal and academic skills in a way that designed to equip them to be reflective and entrepreneurial practitioners. A summary of the major themes present in both the BA and FdA courses at BIMM is presented in the diagram below:

Major Themes for BA/FdA Courses

Instrumental skills

Performance skills

Music theory, aural and notation skills

Academic skills - history & context, research, critical analysis & synthesis

Business & management (personal & project) skills

Technical & transferable skills - Teamwork, Music equipment, IT, communication & presentation

24

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Assessment Calendar Year 3 Level 6

Wk 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Written Exam Performance Exam 1 Performance Exam 1 Performance Exam 1 Performance Exam 1 BIMM 20 BIMM 17 BIMM 21 BIMM 26 BIMM 15 BIMM 16 BIMM 18 BIMM 19

Proposal

21 22 Practical Teaching Assessment Practical Teaching Assessment Practical Teaching Assessment Practical Teaching Assessment Practical Teaching Assessment Practical Teaching Assessment Project Portfolio

23

24

25

26 Reflective Essay Project Report

Essay Project Portfolio Business Case Study

Performance Exam 2 Performance Exam 2 Performance Exam 2 Performance Exam 2

Performance Exam 2 Performance Exam 2 Performance Exam 2 Performance Exam 2 Feedback

27 28 29 30 +3 Feedback

Feedback

Feedback

Feedback

Feedback Feedback

Feedback

25

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Module Study Guides BIMM 20 Professional Project

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 21 x 1.5 Hours Tutorials: Through Final Term up to 2hrs Personal Development Time: 367 Hours BA (Hons) Professional Musicianship BIMM 20 6 40 BIMM 05 Research Methods Core

Module Leader & Tutors

Module Leader: Richard Harvey Tutor: Richard Harvey, Briggy Smale, Johnny Hopkins

Module Summary
This module ensures that students confront their responsibilities as professionals and manage a project that is rooted firmly in the commercial world: jobs in the music business vary enormously and most musicians need to be adaptable and flexible in order to carve their own niche in the industry. Final projects must be realistic and achievable, and are linked with the earlier Course Planning and Research Methods modules.

26

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 During the module, students will consolidate the skills and experience gained through the course of their studies. Students will draw upon their research; project planning, managerial and team working skills. Students will be expected to deliver an appropriate project plan that includes: market research, a project CPA (Critical Path Analysis: a planning and project management tool), and financial planning. Consideration will be given to a students personal development and he/she will be encouraged to adopt advanced time and stress management skills in order to become an effective project manager. Success in this module requires the use of reflective practice skills, as developed in earlier modules. In the final stage of their studies, students will be able to utilise their analysis of past experience to create theories upon which to base models for future working practice.

Aims
To analyse previous academic and practical experiences during the B.A. course and apply these effectively and appropriately within the context of a research project. To practically apply appropriate research methodologies to a real world project To evidence effective project management

Indicative Study Topics

The practical application of research methodologies within the context of a professional project Press, promotions and media management (including tour management) Distribution of music-related products Team working skills (including team role allocation, the practical application of Belbin Profiles and leadership skills) Project planning Personal development (stress management and advanced time management) Reflective and learning skills (including analysis of the learning cycle) The appropriate layout and presentation of business plans constructing a convincing real world plan in the context of a business loan application

27

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Teaching & Learning Methods

This module will be delivered using a range of methods including; formal lectures with audio/visual support, small group work, coursework, in class exercises, tutor demonstration, guest speakers and e-learning through Study Direct and independent study and research. Tutorial support is co-ordinated by the module leader. It is your responsibility to initiate feedback once the lecture period is over, and to book tutorials through the usual system. You are encouraged to submit drafts of your project. Telephone and email support will be available, particularly in the final term when you may be away from college.

Formative Assessment
Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, course work, independent study, research, and written assignments.

Learning Outcomes
On completion of this module a successful student will be able to: 1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project 2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory* and arguments to rationalise project activity 3. Demonstrate a practical understanding of music related project management skills 4. Apply reflective practices to a music related project, linking theory* with practice and producing recommendations for future working practice.

*For clarity, this is not necessarily cultural theory, it is any informed approach. For example, in an educational project, this would include educational theory etc.

28

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment
No Assessment Methods Project Planning Proposal Project Report Length Learning Outcomes Addressed 1,2,3 Assessment Weighting 20% Formative/ Summative Formative Assessment Week W10

1,000 words 8,000 words

1,2,3,4

80%

Summative

W28

Assignment Brief
1. Project Planning Proposal (1,000 words) - Individual Work The Proposal will outline the project that you will subsequently undertake in this module. You will need to describe and justify your choice of project, proposed research methodology, business model, and business plan. Students are advised to negotiate their choice of subject and methodology carefully with the subject tutor before committing to a set path. The Proposal is also an opportunity to demonstrate and explain your project. Topics might include: what prompted your original idea; the desired outcomes of the project; your activities within the project; and your research methodologies and methods. You should put your work in context within the wider perspective of the professional and academic arenas, exploring existing theory in your field, and your response to this. You should consider the following factors whilst developing your proposal: What is the title and goal of the project? How will this be achieved? Literature Review Bibliography

29

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 2. Project Report (8,000 words) - Individual Work The project is a written analysis and evaluation of a professional project that you have undertaken. Your project report should meet the academic requirements of the course; you should ensure that you have given full attention to academic arguments and the critical action that links with critical thinking. Your work should: Maintain a critical approach Be coherent and concise Be persuasive, developing a reasoned train of thought that makes clear the parameters of the project Demonstrate the ability to analyse and qualify data and experience, drawing conclusions and recommending improved future working practice. Evidence practical application of theoretical concepts You do not need to have completed your project activity and analysis before starting to write up the report. The format for the project is listed below: Title page - Title of project, module title, name and date. Contents page - With chapter headings and page numbers (do this section last!) Summary - Explain what the project was about, the main approach and research methodology used, and major conclusions and recommendations. This section should make clear the connection between Research Project and final Professional Project. Introduction - This is likely to be an explanation of why the project area is important, putting it into a professional context and mapping the choice of project against the specified project criteria. Literature review - You should demonstrate the way in which supporting literature (or other material) influenced and shaped your study. You should not restrict yourself solely to discussing material that agrees with your point of view: evaluating conflicting sources is an important part of research. Your investigation of existing thinking and theory within your field and how you have responded to this should be discussed here. Methodology - Describe and justify your choice of research methods. You should critically evaluate the approaches used and, if appropriate, discuss how triangulation reinforces the validity of the findings. Project activity - What you did. What helped and hindered your project. Project findings - Present your findings in a clear way with full discussion and interpretation. When presenting numerical data it is sometimes wise to use a visual

30

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 representation (e.g. a graph) of major results. Ensure that numerical results are statistically meaningful. Conclusions and recommendations - This section needs to be clear and concise, with the conclusions clearly drawn from the project findings. You should analyse past experience to create theories upon which to base models for future working practice. Notes and references - Use footnotes to add information without interrupting the flow of your sentences. Use bibliographic references to support your argument. Appendices - Illustrative and support materials referred to in the text should be included in appendices (e.g. copies of questionnaires and surveys used in gathering research data).

31

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project 2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory and arguments to rationalise project activity 3. Demonstrate a practical understanding of music related project management skills Students will be assessed on their ability to: Comment critically on the validity and accuracy of their own research activity and findings Assessment method Project Planning Proposal/ Project Report

Draw upon existing thinking in the appropriate specialist field(s) to refine and justify approaches and activity

Project Planning Proposal/ Project Report

4. Apply reflective practices to a music related project, linking theory with practice and producing recommendations for future working practice

Allocate team roles effectively Resolve team issues (such as discipline and conflict) appropriately Produce relevant planning documentation and financial planning details (profit forecasts and actual profit and loss accounts) where appropriate Analyse past experience to create theories upon which to base models for future working practice

Project Planning Proposal/ Project Report

Project Report

32

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Project Planning Proposal Very high marks: Will be awarded where the work provides an exceptionally well-balanced and detailed analysis of the candidates development of the project so far and its viability. It will demonstrate a clear understanding of the importance of conducting detailed research into the project area and its practicality in combination with setting a specific and realistic target. It will strike the examiner as deeply considered and demonstrate a deep level of reading and a considerable knowledge in the area of the topic/question. It will be a logically structured and well-considered piece of work outlining the Outcomes and methodology that the candidate intends to undertake to execute this project and evidence exceptional project management and/or financial planning. Higher range marks: Will be awarded where the candidate provides a well reasoned and justified outline of the project to be undertaken with clear aim and justification of the methodology to be used. It will evidence a good deal of well-observed background research on the development of the initial ideas and good project management and financial planning. The topic/question will be comprehensively covered and the candidate may have demonstrated a depth of insight. The writing and presentation will be engaging, with good use of language. Lower range marks: These will be awarded where candidates provide a broadly satisfactory answer, or analysis, which is neither original nor deeply considered and may only address the topic in general terms. There may be interesting general insights into the proposed project but it may lack focus or detail on the main goals, timescale or proposed research methodologies. The writing and presentation will be solid but unimaginative and may fail to fully engage the examiner.

33

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Fails: Fails will be given where work has not been submitted. Further to this, work with a Fail Mark will demonstrate an inadequate knowledge of the topic covered and a fundamental lack of detail in evidencing the direction of the proposed project. It will lack any real depth of insight or analysis and may be flawed at a basic level, in terms of critical or analytical thinking and/or logical structure. The standard of writing may be weak and may act to obstruct the understanding of the work. Assessment 2: Project Report Very high marks: These will be awarded where candidates demonstrate a deep level of reading and a considerable knowledge in the area of the topic/question. The examiner will find the work exciting, provocative and/or ground-breaking perhaps even in terms of his or her personal understanding. The writing will be very strong with excellent use of language. References will be from an extremely wide range of sources; many of them may be from reading not on the suggested lists. The work will, in an overall sense, strike the examiner as an extremely considered piece based on deep learning. Higher range marks: These will be awarded where candidates provide a stimulating, or perhaps unexpected answer that indicates both a broad reading in the area of the topic covered, and a sufficient depth of knowledge in specific areas. It will demonstrate original thought in places and may make use of material not familiar to the examiner. The topic/question will be comprehensively covered, and the candidate may have demonstrated a considerable depth of insight. The writing and presentation will be engaging, with good use of language. Lower range marks: These will be awarded where candidates provide a broadly satisfactory answer, or analysis, which is neither original nor deeply considered and may only address the topic in general terms. The work will refer to the central events/documents/analyses that underpin the answer but will provide no comment or analysis of those references. It will be organised in a fashion that suggests that the author has not given the deepest consideration to order and form. The writing and presentation will be solid but unimaginative and may fail to fully engage the examiner.

34

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Fails: Fails will be given where work is not submitted. Further to this, work with a Fail Mark will demonstrate an inadequate knowledge of the topic covered by the assessed work and may demonstrate some or all of these features: badly organised with no logical structure, and may be subject to diversions from the point; the meaning of the question or the choice of topic may have been missed by the author; the wrong mode of analysis will have been used, or where the correct mode has been identified but misused comprehensively; a limited range of materials will have been used and the references to sources will be confusing and/or incomplete; the candidate will have addressed issues in a peremptory fashion. The standard of writing may be weak and may act to obstruct the understanding of the work.

35

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Rugg, G, Petre, M, 2006. A Gentle Guide To Research Methods Open University Press 2005 1001 Albums You Must Hear Before You Die Cassell Additional texts: Blaxter, L, Hughes, C, Tight, M, 2006. How to Research. 2nd ed. Open University Press De Alcantara, 1997. Indirect Procedures. New York: Oxford University Press Eisenberg, R, Kelly, K, 2006. Organise Yourself. Piatkus Books Fisher, J, 1997. How To Make Money Scoring Soundtracks & Jingles. Mix Books Rapaport, 1998. How To Run A Recording Session. Aristopro Silber, L, 1998. Time Management for the Creative Person. Three Rivers Williams, P, 1999. Getting a Project Done on Time: Managing People, Time, and Results. Amacom Boud, D, (ed), 1997. Developing Student Autonomy in Learning. Honey, P, Mumford, A, 1991. The Manual of Learning Styles. Maidenhead Kolb, D, 1984. Experimental Learning. Prentice Hall Schon, D, 1990. Educating the Reflective Practitioner. Jossey Bass Schon, D, 1991. The Reflective Practitioner. Jossey Bass Journals: Sound on Sound: SOS Publications group. 0951 6816 Websites: www.musicweek.com For an up to date set of links and e-resources please go to the Studio Recording Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

36

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 17 Personal & Business Development

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 20 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 169 Hours BA (Hons) Professional Musicianship BIMM 17 6 20 None Core

Module Leader & Tutors

Module Leader: Neill Thew Module Tutor: Richard Harvey

Module Summary
This module gives you the opportunity to explore and develop the personal, interpersonal and team skills that count towards success. The module will introduce what are often called the soft skills or the emotionally intelligent skills that are increasingly vital for personal and business success. They are particularly important for freelancers. Throughout the module, the emphasis is on developing the skills you need in a way that is personally relevant to you. Teaching sessions will be run in a hands-on, participative workshop style, to support you in learning through and from your own experience. You will get an immediate chance to practice your developing skills through using them in your own business development and/or your Year 3 project and will also be able to bring skills-related issues from your projects back into this course for discussion and support.

37

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Aims
To help students identify the current strengths and weaknesses of their personal and business skill sets; To enable students to develop and practice a wide range of personal and business skills; To develop students abilities to self-motivate, set realistic goals, and work effectively both independently and in team settings.

Indicative Study Topics

Personal style, strengths and weaknesses, including: MBTI profiling; an examination of learning styles; personal robustness; and working effectively with people with different preferences from your own. Working in teams, including: Belbin team roles; Tuckman team development; identifying and trouble-shooting problems in teams; and styles and dimensions of team effectiveness. Leadership, including: goal setting; facilitation and mentoring skills; coaching yourself and others; individual and team interventions to improve performance; conflict handling and resolution. Personal and interpersonal business skills, including: communication in business contexts; managing time and stress; networking and referrals; negotiation skills. Branding and selling, including: developing a leveraged personal presence; selling your skills; advertising strategies. Building an online presence, including: emerging business models; Web 2.0; emyths and other dangers; freelancing; and entrepreneurship.

Teaching & Learning Methods

The module is taught week by week in an interactive and participative workshop style. Sessions will consist of a mixture of tutor and student-led input; experiential learning activities; seminars; and personal / group reflection. Students are encouraged to keep a learning diary during the course as a way of tracking their personal and business-skills development outside of class. E-learning materials will also be made available on Study Direct. Students will be expected to read independently.

Formative Assessment
Frequent feedback on individual and team experiential learning tasks week by week. Peer feedback on assignment plan.

38

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Learning Outcomes
On completion of this module a successful student will be able to: 1. Undertake independent personal development and business development activity 2. Analyse the results of this activity 3. Critically evaluate a range of tools/methods for personal and business development, relating these tools to their own developmental activity

Assessment
Assignment Summative Assessment Methods Reflective 1
Essay

Length Learning Assessment Assessment Outcomes Weighting Week Addressed

3,000 words 1, 2, 3 100% W27

Assignment Brief:
Reflective Essay (3,000 words)-Individual Work Critically evaluate how you have used what you have learned during this module to support your personal / professional development and improve your business skills and performance. Include an analytical account of the independent personal / business development activities you have undertaken during the course of the year.

39

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Undertake independent personal development and business development activity Students will be assessed Assessment on their ability to: method Plan and carry out appropriate personal Essay and business development activity Produce a reasoned account of their own strengths and weaknesses

2. Analyse the results of Reflect on the results of their this activity developmental activities, producing a well-evidenced account of their successes and failures Make well-founded and credible plans for future work Relate the tools and methods discussed in class to their own developmental activities

Essay

3. Critically evaluate a range of tools /methods for personal / business development, relating Evaluate the models used, drawing on these tools to your personal experience and knowledge-inown developmental action activity.

Essay

40

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Reflective Essay Very high marks: The learning outcomes are all met excellently. A highly reflective, critical and insightful account of activities undertaken, with a well-integrated critique of underpinning models, containing elements of sharp insight and/or originality. Fluently and engagingly written. Higher range marks: The learning outcomes are all met well. A convincing account of activities undertaken, with strong elements of personal evaluation and reflection. A wellreasoned, analytical account of the models used. Well written. Lower range marks: The learning outcomes are all met. A sound narrative / descriptive account of activities undertaken, with some references to underpinning models. Some attempt at critical evaluation of either personal activity and/or developmental models but limited in scope. Reasonably written. Fails: One or more of the learning outcomes not met, or work not submitted in full.

41

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Clancy, Andrew (2011) The Success Gurus, London: Portfolio / Penguin Throughout the module, you will be given readings and handouts to support your learning. Electronic versions of these resources will also be made available, where possible, through Study Direct. Additional texts: Bounds, Andy (2007) The Jelly Effect: How to Make Your Communication Stick, Chichester: Capstone. Covey, Stephen (2004) The 8th Habit, London: Simon & Schuster. Gardner, Howard (2006) Multiple Intelligences: New Horizons, New York: Basic Books. Hood, Bruce (2012) The Self Illusion, London: Constable Jackson, Brad & Parry, Ken (2008) A Very Short, Fairly Interesting and Reasonably Cheap Book About Studying Leadership, London: Sage. Johnson, Steven (ed.) (2011) The Innovators Cookbook, New York: Riverhead Books. Lehrer, Jonah (2012) Imagine: How Creativity Works, Edinburgh: Canongate Books. Maxwell, John C. (2001) The 17 Indisputable Laws of Teamwork, Nashville, TN: Thomas Nelson Publishers. Peters, Tom (2010) The Little Big Things, New York: Harper Collins. Rath, Tom (2007) Strengths Finder 2.0, New York: Gallup Press. Wilson, Timothy (2011) Redirect: The Surprising New Science of Psychological Change, London: Penguin. Websites: For an up to date set of links and e-resources please go to the Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

42

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 21 Analytical Perspectives

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 26 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 160 Hours BA (Hons) Professional Musicianship BIMM 20 6 20 BIMM07 Cultural Perspectives FD09 Critical Insights in Popular Music Core

Module Leader & Tutors

Module Leader: Jon Stewart Tutors: Jon Stewart jonstewart@bimm.co.uk

Module Summary
Professional musicians and artists must have an appreciation of historically important material if they are to enjoy long-term success and credibility. Few established popular musicians are unaware of the traditions in which they perform, and contemporary artists who understand recent developments in music can build upon that foundation by producing innovative material. This module presents a critical history of popular music from 1970 to the present day. Significant artists will be examined in relation to their cultural, social and political impact and their continuing influence on contemporary music genres. The module will also draw on theoretical contexts found in the wider discipline of cultural studies, such as critical theory and postmodernism. You will be expected to develop a sophisticated understanding of our cultural and musical antecedents and will be encouraged to analyse, synthesise and evaluate the circumstances around significant moments in the history of popular music since 1970.

43

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 This module will oblige you to engage with in depth reading and demonstrate an appropriate level of academic rigour. You will be required to engage in critical debate with full justifications and explanations for your reasoning.

Aims
Students will be encouraged to examine significant moments in the evolution of popular music genres. Important artists and their work within each genre will be analysed according to the factors that have made them influential cultural icons. This will include: Lyrical inventiveness and musical creativity The cultural, social and political context of the time Economic, social and technological change Theoretical approaches to popular music, such as critical theory and postmodernism

Indicative Study Topics

Study topics may include: Theodor Adorno and the Frankfurt School Postmodernism in pop and rock music Postcolonialism and African-American cultural expression in funk, hip hop, ebonics, gangsta rap The rise and fall of disco Krautrock: synthesizers, sampling and the avant-garde Punk and post-punk culture

Teaching & Learning Methods

Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning through Study Direct and independent study and research.

44

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Formative Assessment
Formative assessment includes tutorial, peer learner and tutor feedback in presentation sessions, email feedback on presentation scripts and draft essays, email negotiation of essay titles, Q&A and discussion sessions in class.

Learning Outcomes
On completion of this module a successful student will be able to: 1. Analyse and interpret the development of a key genre in Popular Music from 1970 to the present day 2. Critically evaluate the relationship between Popular Music and wider cultural issues 3. Construct an informed argument about the contribution of a key artist from this period 4. Critically appraise the artists cultural significance, using scholarly literature at the forefront of the discipline

Assessment
No Assessment Methods Essay Length Learning Outcomes Addressed 1,2,3,4 Assessment Weighting 100% Formative/ Summative Summative Assessment Week W26

4,000 words

45

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assignment Brief
1. Essay (4,000 words) This assignment asks you to evaluate the social, cultural and political context of an important and influential album release in the period 1970 to the present day. Students are required to develop a clear and coherent written argument that demonstrates deep reading (including material on the course reading list and peer review academic journals) and shows an appreciation of the modules rationale. Choose an artist from the period 1970-present day and examine their relationship to their cultural and social context with reference to an important or influential album. Analyse your chosen artist and album in relation to their associated genre. Discuss their social context and their lyrical and musical creativity. Evaluate their impact on popular music and on wider popular culture as a whole. Engage with appropriate theoretical approaches such as critical theory, postmodernism, and others where relevant. Demonstrate that you have engaged with the course reading material and appropriate academic peer reviewed journals. All quotes and ideas should be fully referenced using HRS and all written work submissions should include a bibliography. The work should be well structured and free from grammatical errors. Essays should be presented according to the written work submission guidelines published in this manual. Your essay title can be taken from the suggestions provided on Study Direct, or it can be negotiated in advance via email discussion with the course tutor. Selfauthored titles should consist of a quote pertaining to your artist taken from appropriate reading material. Deadlines for essay title negotiation will be published on Study Direct. Here is an example of a well-formatted essay title: Thriller demonstrated a kind of across the board appeal that established new and still unduplicated heights of commercial success. Discuss. Starr, L. & Waterman, C. (2003) American Popular Music, London: OUP, p385

46

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Analyse and interpret the development of a key genre in Popular Music from 1970 to the present day Students will be assessed on their ability to: Demonstrate a detailed knowledge and informed understanding of the career of a genre-defining artist Assessment method Essay

Comment critically on the contribution of that artist to their associated genre of popular music and their wider contribution to popular culture 2. Critically evaluate the Critically evaluate the contribution of a relationship between key artist in relation to societal and Popular Music and cultural changes in the period wider cultural issues Comment on the interaction between popular music and important cultural and/or social developments in the period Present arguments coherently and clearly Present a detailed evaluation of contribution of an important artist from the period Make informed references to influential work from a key artist

Essay

3. Construct an informed argument about the contribution of a key artist from this period

Essay

Engage with appropriate theoretical approaches to popular music studies 4. Critically appraise the Demonstrate academic rigour by artists cultural engaging with a wide range of significance, using literature (including peer review scholarly literature at journals and other resources on the the forefront of the reading list) discipline Present fully referenced work accompanied by a detailed and relevant bibliography. Engage with appropriate theoretical approaches to popular music studies

Essay

47

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Essay: Very High marks: Candidates will present truly outstanding written work, synthesising and evaluating ideas at the forefront of their field and making full use of academic sources. The examiner will find the work ground-breaking and inspiring, and the writing will be extremely strong with excellent use of language. Higher range marks: Candidates will demonstrate academic rigour, deep reading and a detailed comprehension of the area in question. Candidates will show an informed understanding of the theoretical content of the course and will have applied this to their own submission. The writing will be well structured, showing the ability to effectively synthesise and evaluate a wide rage of ideas, and will be free of errors. Lower range marks: Work at a lower mark may show a wide range of reading but will demonstrate a limited appreciation of the artists context or the modules theoretical approach. The candidate may be able to show a general understanding of the main issues, but they will overlook relevant details or fail to appreciate the more complex arguments pertinent to the artist. The presentation will be marked by structural errors or grammatical inconsistencies. Fails: Fails will be awarded where candidates are not able to demonstrate a logical argument, where they omit relevant content, or where they present work that is inconsistent with the terms of the brief

48

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core text: Curtis, J. 1987 Rock Eras: Interpretations of Music and Society 1954 1984. Bowling Green: Bowling Green State University Press Starr, L. and Waterman, C. 2003 American Popular Music New York: OUP Storey, J. 2008 Cultural Theory and Popular Culture London: Longman Strinati, D. 2004 An Introduction To Theories Of Popular Culture Routledge (2nd Ed) Werner, C. 2002 A Change is Gonna Come: Music, Race and the Soul of America Edinburgh: Cannongate Additional texts: Adorno, T. 1976 Introduction to the Sociology of Music New York: Seabury Adorno, T. & Horkheimer, M. 1997 Dialectic of Enlightenment New York: Verso Appignanesi, R. & Garrett, C. 2007 Introducing Postmodernism: A Graphic Guide to Cutting Edge Thinking Icon Books Ltd Bennett, A. 2001 Cultures of Popular Music London: OUP Bennett, A. 2010 Britpop and the English Music Tradition (Ashgate Popular and Folk Series) London: Ashgate Press Darby, D. 2005 Hip-Hop And Philosophy: Rhyme 2 Reason (Popular Culture And Philosophy) Open Court Edgar, A. & Sedgwick, P. 2002 Cultural Theory: The Key Concepts Routledge Fisher, M. 2009 The Resistible Demise of Michael Jackson London: Zero Books Forbes, B. 2009 "Radiohead" And Philosophy (Popular Culture And Philosophy) Open Court Frith, S. et al 2001 Cambridge Companion to Popular Music Cambridge: CUP Gilbert, G-C. 2002 Madonna as Postmodern Myth: How one Stars Self-Construction Rewrites Sex, Gender, Hollywood and the American Dream London: McFarland Irwin, W. 2007 "Metallica" And Philosophy: A Crash Course In Brain Surgery WileyBlackwell Lloyd, F. 1993 Deconstructing Madonna (Cultural Studies) London: Batsford MacDonald, I. 2003 The Peoples Music. London: Pimlico Middleton, R. 2000 Reading Pop. Oxford: OUP Moy, A. 2007 Kate Bush and the Hounds of Love (Ashgate Popular and Folk Series) London: Ashgate Press Reisch, G. 2007 Pink Floyd And Philosophy: Careful With That Axiom, Eugene! (Popular Culture And Philosophy) Open Court Rooksby, R. 2001 Inside Classic Rock Tracks London: Backbeat Rose, T. 1994 Black Noise: Rap Music And Black Culture In Contemporary America Wesleyan University Press Savage, J. 2001 Englands Dreaming. London: Faber & Faber Shuker, R. 2008 Popular Music: The Key Concepts London: Routledge Sim, S. 2001 The Routledge Companion to Postmodernism London: Routledge Valenti, J. 2012 Madonna and Me: Women Writers on the Queen of Pop London: Soft Skull Press Walser, R. 1993 Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Middletown: Weslyan University Press Wener, L. 2011 Just For One Day: Adventures in Britpop London: Ebury Press Wilson, R. 2007 Theodore Adorno (Routledge Critical Thinkers) Routledge 49

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Wrathall, M. 2009 "U2" And Philosophy (Popular Culture And Philosophy) Open Court 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, Newcastle University Soundscapes: Journal on Media Culture Websites: Stanford Encyclopaedia of Philosophy plato.stanford.edu Critical Theory criticaltheory.info Guide to Literary and Critical Theory www.cla.purdue.edu/english/theory/ Google Scholar: scholar.google.com University of Sussex library: www.sussex.ac.uk/library For an extensive collection of e-resources and web links please go to the BIMM 21 Analytical Perspectives Study Direct Site

50

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 26 Commercial Songwriting

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 26 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 160 Hours BA (Hons) Professional Musicianship BIMM 26 6 20 None Core for songwriters elective for others

Module Leader & Tutors

Module Leaders: Jake Shillingford Tutors: Jake Shillingford

Module Summary
This module will further address the musical and technological aspects of writing and producing popular songs, and will include focus on composition for the media and moving image alongside the commercial concerns and production values vital to this discipline. Students will continue to develop technical skills along with creative techniques common to working with sound and image. The module will also develop reflection, analysis and synthesis and encourage students to develop a personal voice whilst also demonstrating stylistic versatility and an ability to work across genres.

51

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Aims
To develop professional compositional technique To understand and utilise techniques for composing for new and traditional media To be able to appraise, select and use appropriate technology To be able to work to a strict and precise commercial brief To be able to respond positively to criticism and feedback as a reflective practitioner

Indicative Study Topics

Advanced music production techniques; from demo to master Working with Media; formats, conventions and techniques Context and working methods in popular songwriting Advanced Composition and arrangement techniques Working with others; building and leading a team Working to a precise commercial brief Reflective practice and self analysis

Teaching & Learning Methods

This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars & practical workshops/demonstrations (Utilising a DAW resource room), student led seminars, studio work, e-learning through Study Direct and Independent study & research.

Formative Assessment
Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online utilising multiple-choice questionnaires (via Study Direct).

52

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Learning Outcomes
On completion of this module a successful student will be able to: 1. Apply theoretical concepts to melody and harmony writing and analyse select and employ a range of compositional devices and song structures 2. Employ knowledge of technology in music production and commercial approaches to packaging and presentation 3. Demonstrate the ability to work to a strict brief and display understanding of industry protocols and technical benchmarks 4. Exemplify the qualities of a reflective practitioner displaying self awareness and critical analysis in self development

Assessment
Assignment Summative Assessment Methods Negotiated 1
Commercial Project Portfolio & Written Critical analysis of Project & Presentation package 1,500 words

Length Learning Assessment Assessment Outcomes Weighting Week Addressed

10 mins 1,2,3, 4 100% 27

53

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assignment Brief
1. Negotiated Commercial Project PortfolioIndividual work (10 mins). Audio only pieces to be presented as 44.1kHz 16 bit AIFF on a CD. Audio/visual pieces to be presented as Quicktime Movies to be submitted as data files on a single DVD. Students will write, record and produce a musical project; brief to be negotiated with tutor, chosen from list of commercial briefs presented in class Written analysis 1,500 words-Individual Work This should be a reflective critical analysis of the work produced for this assignment. The essay should include the following elements: Introduction and detailed brief for each composition A brief description of the production process Analysis of the strengths and weaknesses of each element Reflection on what the process has taught you in terms of the task set Conclusion

Presentation Package A designed package that is intended to 'sell' the project - especially to those that are unaware of what you are capable of. This package should consist of a folder or binder containing both the CD/DVD and the written work all contents must be securely fastened. Marks will be given for the quality of presentation of both the media and the written work and packaging (see general section on assessment protocols for further detailed information).

54

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Apply theoretical concepts to melody and harmony writing and analyse select and employ a range of compositional devices and song structures Students will be assessed on their ability to: Apply and link theory to practice Utilise learning to develop compositional technique Assessment method Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package Negotiated Commercial Project Portfolio & Written Critical analysis of Project & Presentation package

2. Employ knowledge of technology in music production and commercial approaches to packaging and presentation

Employ industry standards and protocols Make informed production decisions Understand and apply commercial standards to presentation

3. Demonstrate the ability to work to a strict brief and display understanding of industry protocols and technical benchmarks

Work to a precise commercial brief Recognise and apply industry benchmarks and protocols Produce commercial quality recordings

4. Exemplify the qualities of a reflective practitioner displaying self awareness and critical analysis in self development

Respond to feedback constructively Demonstrate self awareness and critical analysis Use reflection to develop personally and professionally

55

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Negotiated Commercial Project Portfolio Very high marks: Apart from the work fulfilling all the qualities listed in the section below 'Higher range marks', it will also need to exhibit strengths associated with the creative and artistic goals set for the project. Technical ability, planning, production, creative ideas and the quality of composition will also be outstanding. Higher range marks: These will be awarded for work that has many of the merits that could be considered to apply to a 'professional' product. That is the work is technically very assured, the meaning and purpose is clear and appropriate production values have been applied not just to the quality of the work but to its execution as well. Technical knowledge, creative ideas and the quality of the composition will be of a high standard. Lower range marks: The work is adequate, it meets the criteria defined by the briefs but the overall perspective of the work is one that lacks thoroughness, consistency, technical confidence and quality control. Technical knowledge, production, creative ideas and the quality of compositions may be of average to low standard. The lower end of this range is where the work fails to bear much relationship to the original brief(s) is poorly executed, confused, show a lack commitment or fails to understand the processes necessary to execute the work. Fails: Fails will occur where no final project is submitted for assessment. Fails will also be given for work were severe problems are associated with its execution and content; technical, production, creative and compositional skills are almost non existent

56

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Baheny, J. 2001, The Craft and Business of Songwriting, Writers Digest. 1582970851 Collins, M. 2004, Pro Tools for Music Production: Recording, Editing and Mixing, Elsevier. 9780240519432 Additional texts: Webb, J. 1999, Tunesmith: Inside the Art of Songwriting, Hyperion. 076884889 Keane, J, The Musicians Guide to Pro-Tools, McGraw-Hill Osborne Media; 2nd edition (September 25, 2007), 978-0072231755 Huber, D. 2005 Modern recording techniques - 6th ed. Boston, Mass; Oxford: Focal Press, 2005.0-240-80625-5 Pattison, P. 1996, Writing Better Lyrics, Writers Digest. 0898796822 Davis, S. 2001, The Songwriters Idea Book, Omnibus. 0898795196 Journals: Sound on Sound: SOS Publications group. 0951 6816 Resolution: S2 Publications Ltd. 1477 4216 Pro-Sound News Europe: CMP Information Ltd. 0269 4735 Audio Media: IMAS Publishing Ltd. Websites: For an up to date set of links and e-resources please go to the Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

57

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 15 Music Business Studies

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 25 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 161 Hours BA (Hons) Professional Musicianship BIMM 15 6 20 None Elective

Module Leader & Tutors

Module Leader: Darren Sadler Tutors: Darren Sadler

Module Summary
This module will give students the knowledge to plan their career paths and communicate with industry practitioners in an informed way. It will provide students with an understanding of the various agreements they might be expected to enter into during the course of a career in music. Musicians will develop an understanding of the structure of the industry and will be able to interpret key terms used in management, recording and publishing contracts. Musicians will be shown the impact that the various agreements can have on their careers, and develop an understanding that will enable them to make informed decisions and communicate with professional advisors in an effective and informed manner.

58

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Aims
To understand the key terms and principles underlying management, recording, publishing and live performance contracts. To understand artist development and marketing plans To be able to construct a business case study

Indicative Study Topics

Music industry resources Management contracts Recording agreements Publishing contracts Online distribution using iTunes, AWAL and other aggregators Live music agreements Artist development and marketing plans Business case study

Teaching & Learning Methods

Teaching will be via lectures, Q&A, audio and video material, Internet resources, discussions and debates, small group exercises, Study Direct and independent study. Teaching material will include examples from real world contemporary legal agreements, important music industry media sources and leading texts on the subject.

Formative Assessment
Formative assessment includes tutorial, discussion in class, peer and tutor feedback from small group exercises studying real world legal documents, music industry media sources and relevant texts, and Q&A sessions in class.

59

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Learning Outcomes
On completion of this module a successful student will be able to: 1. Recognise and analyse the structure of the music business, and appraise important contemporary issues in the discipline 2. Interpret and evaluate key terms in music business contracts and agreements 3. Discuss issues and communicate effectively with industry professionals and advisors 4. Demonstrate a critical understanding of career planning, business planning and self management issues

Assessment
No Summative Assessment Methods Written Exam Business Case Study Length Learning Outcomes Addressed 1,2,3,4 1,2,3,4 Assessment Weighting 50% 50% Formative/ Summative Formative Summative Assessment Week W20 W28

1 2

90 minutes 1,500 words

60

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assignment Brief
1. Written Exam (90 mins) - Individual Work A 90-minute written examination to test the candidates empirical knowledge and conceptual understanding of the business practices and legal agreements they may encounter in the music industry, and the responsibilities that they accept when signing agreements. 2. Business Case Study (1,500 words) - Individual Work Present a critical case study analysis of a current music company, commenting on some or all of the following aspects where these are relevant. These topics are suggested ideas, and you may find that you want to revise them or add other areas for discussion as you see fit: The business plan of the company The vision and ethos of the business The ownership of the business The history of the company Their sector of operations (manufacturing/services/technology/etc) The management and staffing structure The production and/or operation procedures The public profile and marketing The company's USP The companys competitors The artist roster and A&R policy (where relevant) Legal and copyright issues relevant to the company The companys use of technology and new media How the company is positioned in relation to current developments in the industry The companys international profile

Comment critically on the relative strengths and/or weaknesses of the company in these and other areas. Use appropriate reading and secondary research, including a fully referenced bibliography.

61

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome
1. Recognise and

analyse the structure of the music business, and appraise important contemporary issues in the discipline

Students will be assessed on their ability to: Define and discuss the structure of the contemporary music business Identify recording, publishing and live music income streams Identify and evaluate key issues in the contemporary music industry Define and discuss key terms in management contracts, recording agreements, publishing contracts and other relevant industry agreements Interpret and evaluate these terms using real world examples

Assessment method Exam Business Case Study

2. Interpret and

evaluate key terms in music business contracts and agreements

Exam Business Case Study

3. Discuss issues and communicate effectively with industry professionals and advisors

Demonstrate an understanding of the key contemporary issues in recording, publishing, music management and live music Identify and evaluate key issues in the contemporary music industry Construct and comment critically on an artist development plan Research, write and submit a business case study Comment critically on the strengths and/or weaknesses of the business Apply their knowledge of key issues in the contemporary music industry

Exam Business Case Study

4. Demonstrate a critical understanding of career planning, business planning and self management issues

Exam Business Case Study

62

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Written Exam: Very high marks: Candidates will show a detailed and accurate knowledge of the structure of all aspects of the music business, demonstrating their ability to synthesise and evaluate information at a level that would be commensurate with an informed early career professional musician or music industry practitioner. Papers will be entirely error free. Higher range marks: Papers will show in depth knowledge across the areas in question, and candidates will express themselves clearly and accurately. Work will demonstrate a consistent understanding of the significant details, and will show that the candidate has been able to apply their learning to a range of important issues and subjects in the contemporary music industry. Lower marks: Papers will contain some errors and an inconsistent application of the knowledge and principles studied in class. They will demonstrate effective engagement with the learning resources and give broadly satisfactory answers, but may not be entirely accurate in some of the finer detail. Fails: Work with a fail mark will contain answers that are not able to demonstrate a clear understanding and application of the knowledge, issues and principles studied in the module. Candidates will not be able to show that they have engaged with the learning resources and their papers will contain a large number of errors and/or misunderstandings about significant areas of the course.

63

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Assessment 2: Business Case Study: Very high marks: The work will fulfil all the qualities listed below in Higher range marks. It will exhibit a detailed understanding of the business case study: outstanding original research and analytical skills, a creative and innovative appreciation of the companys commercial vision, accurate and insightful reflection and commentary. The work will be in all ways a genuinely outstanding submission. Higher range marks: The work will be immaculately presented, well thought out, neatly structured, fully researched, and will demonstrate a keen awareness of the commercial realities of the case study. The work will show creative thinking that is supported by convincing empirical evidence, and will demonstrate a high level of application of the ideas and skills covered across the module. Lower marks: The work will present an adequate case study that outlines a good appreciation of the business, but it may lack thoroughness and contain some weaknesses in execution. The work may contain presentation errors or inconsistent ideas, or the research, execution or reflection may be in some way flawed. At the lower end of this range the work may be poorly executed and confused, may show lack of commitment to the brief, or will fail to demonstrate a convincing understanding or application of the ideas and skills covered in the module. Fails: Fails will occur where no business case study is submitted for assessment, where work is submitted that fails to meet the basic terms of the brief, or where the problems in research, presentation, reflection and execution are so severe as to fundamentally undermine the logic of the work.

64

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core text: Harrison A, 2008. Music: The Business. The essential guide to the Law and the Deals. London: Virgin Additional texts: Beale, H 2007. Chitty on Contracts. 27th edition. London: Sweet and Maxwell Davis S, Laing D, 2002. The Guerrilla Guide to the Music Business. London: Continuum Gordon, S. 2005. The Future of the Music Business: How to Succeed With the New Digital Technologies. San Francisco: Backbeat Books Huber, C 2004 producing your own CDs. London: Wise Publications Kalliongis, N 2008 MySpace Music Profit Monster Los Angeles: Booksurge Lathrop T. 2004. This Business of Music, Marketing & Promotion. Billboard Passman, D. 2004 All you need to know about the Music Business London: Penguin Journals: Music Week London; CMP Record of the Day London: Music Today Ltd Websites: BBC Radio 1s One Music: www.bbc.co.uk/radio1/onemusic/howto Record of the Day: www.recordoftheday.com The British Phonographic Industry: www.bpi.co.uk Bemuso: www.bemuso.com MCPS/PRS Alliance: www.mcps-prs-alliance.co.uk Music Tank: www.musictank.co.uk Lee & Thompson: www.leeandthompson.com For an up to date set of links and e-resources please go to the Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

65

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 16 Music Teaching Practice

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 21 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 168 Hours BA (Hons) Professional Musicianship BIMM 16 6 20 N/A Elective

Module Leader & Tutors

Module Leader: Martin Wright Module Tutor: Martin Wright

Module Summary
Private, peripatetic, group and classroom teaching is integral to many a professional musicians business plan, and two or three days teaching a week can provide the financial security needed to pursue other long-term career goals. In addition, many musicians are attracted to teaching as a vocation in its own right and find personal, artistic and creative satisfaction within it. This module helps participants develop the skills for setting up a successful teaching practice. You will learn how to: plan and deliver lessons; assess students and give them feedback; evaluate your own teaching in order to improve it. The module is designed to be highly participative and practical, and it includes a requirement on you to undertake some teaching.

66

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Aims
To explore a variety of teaching and learning strategies To introduce effective lesson planning and assessment procedures To offer opportunities for teaching practice To enable students to plan for employment

Indicative Study Topics

Lesson planning Psychology of music learning Classroom management Lesson observation Group and one-to-one teaching practice Learning styles Differentiation Assessing students and giving feedback

Teaching & Learning Methods

This module will be delivered utilising a variety of methods including: tutor-led lectures and practical group work, lesson observations, role play, student-led workshops, micro-teaching and e-learning via Study Direct and independent study and research.

Formative Assessment
Formative assessment will include Q&A, tests, quizzes, group and individual tasks, mock assessments and informal teaching practice sessions during the year. These will provide background material for both the Teaching Project and Practical Assessment.

67

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Learning Outcomes
On completion of this module a successful student will be able to: 1. Utilise key pedagogic principles vital to musical learning 2. Create lesson outcomes and learning outcomes and devise a programme of study 3. Give accurate and developmental feedback and demonstrate how to identify and assess students progress 4. Evaluate the strengths and weaknesses of their own and others lessons

Assessment
Assignment Summative Assessment Methods Teaching Project Portfolio Practical Assessment Length Learning Outcomes Addressed 1,2,3,4 1,2,3,4 Assessment Weighting 50% 50% Assessment Week W28 W22-W27

1 2

2500 Words (30 Mins Teaching)

68

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assignment Brief
1. Teaching Project Portfolio (2,500 words) Individual work This will consist of a written submission, in which students will: Develop and plan a series of 10 lessons, and produce associated learning resources. Plans should include: lesson outcomes; learning Outcomes; teaching and learning activities; timing; resources; formative evaluation strategies; student differentiation.. Write a critical evaluation of the effectiveness of these lessons including their own teaching and their application of sound principles of curriculum design. Discuss strengths of each lesson, and provide a number of well-reasoned and well-supported suggestions for improvement for each. Include feedback comments from the module tutor on any informal teaching practice undertaken during the year.

2. Practical Assessment- 30 Minute Lesson Observation - Individual Work The student will be formally observed and assessed while teaching a formal lesson with students, which may be taken from their teaching project lesson plans or written specifically for the task. These lessons may include teaching a one-to-one lesson or teaching a small group. This will also include providing feedback to your students on their progress.

69

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Utilise key pedagogic principles vital to musical learning Students will be assessed on their ability to: Demonstrate key pedagogic principles within their own teaching Assessment method Teaching Project, Practical Assessment

2. Create lesson Outcomes and learning outcomes and devise a programme of study 3. Give accurate and developmental feedback and demonstrate how to identify and assess students progress 4. Evaluate the strengths and weaknesses of their own and others lessons

Develop and deliver appropriate programmes of study, demonstrating consideration of individual learning styles and differentiation

Teaching Project, Practical Assessment

Discuss summative assessment methods Provide constructive formative feedback to students and assess progress

Teaching Project, Practical Assessment

Write a critical evaluation of the effectiveness of a lesson delivered and provide a number of well-reasoned and wellsupported suggestions for improvement.

Teaching Project Practical Assessment

70

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessment 1: Teaching Project Portfolio: Very high marks: Denotes work approaching professional teaching in all areas. Comprehensive lesson plans will be written and utilised in the classes. The students will critically evaluate how they could improve their work and will have demonstrated that they have understood the criteria necessary to be a very good teacher and worked towards achieving this accordingly. Higher range marks: This work will have many of the qualities listed above but will exhibit some minor flaws, for example in self-evaluation. The project will be cohesive and engaging and will reference knowledge learned in the classroom but may lack some innovation associated with the very high range marks. Lower range marks: Overall the work shows some degree of competence although there are some obvious technical problems. It may be lacking in imagination and may show little selfevaluation by the student. The work may communicate with difficulty and be poorly structured. Fails: Fails will be given where work is not submitted. The work fails to meet the requirements of the assignment brief and the work has limited meaning. The work may also fail to communicate a coherent message, perhaps through a mixture of lack of logical thought, poor organisation and lack of in depth analysis.

71

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Assessment 2: Practical Assessment: Very high marks: Denotes work approaching professional teaching in all key areas and demonstrates an exceptional degree of commitment, creativity, and teaching quality (the session observed would receive an outstanding grade in an Ofsted inspection) The teaching session inspires and engages all learners and the student will be highly self reflective, with well-supported ideas for improvement that draw significantly on pedagogical theory. Higher range marks: Denotes work of good quality in all key areas and demonstrates a high degree of commitment, creativity, and teaching quality (the session observed would receive a good grade in an Ofsted inspection) Teaching session engages all learners for the majority of time. Effective self-reflection has been utilised, with well-supported ideas for improvement that show sound knowledge and understanding of pedagogical theory. Lower range marks: Denotes work of minimally satisfactory quality in all key areas. Demonstrates an acceptable level of teaching quality though perhaps lacking in originality and/or energy of approach (the session observed would receive a satisfactory grade in an Ofsted inspection). The teaching session engages many learners. There is some self-reflection, but it misses out some key elements of understanding of the students own performance. Fails: Denotes work of unsatisfactory quality in some or all key areas and demonstrates an unacceptable level of teaching quality (the session observed would receive an unsatisfactory grade in an Ofsted inspection) The teaching session fails to engage many learners and / or is chaotic / unstructured. Poor self-reflection has been implemented by the student, with few realistic ideas for improvement.

72

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Green, L, 2001. How Popular Musicians Learn Ashgate Hallam, S, 1998. Instrumental Teaching Heinemann Additional texts: Davies, S. 2006 The Essential Guide to Teaching Longman Odam, G, 1995. The Sounding Symbol: Music Education in Action Stanley Thornes Philpott, C. (ed) 2001 Learning to Teach Music in the Secondary School Routledge Falmer Small, C, 1998. Musicking: The Meanings of Performing and Listening Wesleyan University Press Spruce, G, 1995. Teaching Music: Open University PGCE Course Reader Routledge. Vulliamy, G. 1982 Pop, Rock and Ethnic Music in School (Resources of Music) Cambridge: CUP Journals: General Music Today Journal of Music Teacher Education Journal of Research in Music Education Music Educators Journal Websites: For an up to date set of links and e-resources please go to the BIMM 16 Music Teaching Practice Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

73

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 18 - Solo Performance

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 26 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 160 Hours BA (Hons) Professional Musicianship BIMM 18 6 20 None Elective

Module Leader & Tutors

Module Leader: Scott McGill Tutors: Damien Morris Franc OShea Adam Bushell Kate Cameron scottmcgill@bimm.co.uk

adambushell@bimm.co.uk

Module Summary
Many musicians develop advanced technical skills but fail to realise their true potential as live performers. Professional musicians must develop consistency in their performances, versatility in their skills and repertoire knowledge, and deliver high performance standards with limited preparation time. Students will be asked to select, prepare, and perform one or more technically demanding performance piece(s) per performance. The two programmes will be 20 minutes each in duration and students will be encouraged to consider the structure of the performances as a whole, and discuss this with their tutor. Students will be expected to develop effective preparation skills for professional performance and emphasis will be placed upon the development of technical ability together with the study and acquisition of a diverse range of repertoire.

74

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Aims
To help musicians become confident and exceptional solo performers To develop a students conceptual understanding of and technical fluency in a variety of different musical styles and genres To prepare students for a career as a professional musician by using efficient preparation techniques for a variety of situations, and accurate critical selfawareness for on-going improvement

Indicative Study Topics

Technical Development: developing fluency, consistency, accuracy, and speed for executing challenging pieces and passages, proper intonation, and vibrato Repertoire: learning a broad range of material within a genre, playing convincingly in different genres, and becoming aware of the changes in techniques and stylistic traits of a specific genre as it developed over time Preparation: choosing the proper equipment and spare parts for a given situation, learning songs quickly and accurately, and writing out parts for yourself and others Musicianship: developing improvisation skills, utilising dynamics, employing genre-specific techniques to make performances more authentic and appropriate, and performing with an accurate sense of time Performance Skills: selecting the right compositions for a performance, placing the material in an effective and logical order, stage presence, and developing confidence in communicating ones unique musical voice and artistic vision.

Teaching & Learning Methods

This module will be delivered using a range of methods including; formal lectures with audio/visual support, small group work, coursework, in class exercises, tutor demonstration, e-learning through Study Direct and independent study and research.

Formative Assessment
Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, coursework, classroom discussion, independent study, and research, and written assignments.

75

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Learning Outcomes
On completion of this module a successful student will be able to: 1. Perform in a range of musical styles and genres 2. Use effective preparation and presentation skills for those performances 3. Demonstrate a high level of technical facility and acquire a large repertoire of compositions

Assessment
No Assessment Methods Performance Exam 1 Performance Exam 2 Length Learning Outcomes Addressed 1,2,3 1,2,3 Assessment Weighting 50% 50% Formative/ Summative Summative Summative Assessment Week W19-W20 W26-W29

1 2

20 min 20 min

Assignment Brief
1. and 2. Solo Performances Exams 1 and 2 (20 min each)-Individual Work The student will be asked to prepare and perform two twenty-minute programmes of solo material. The repertoire, chosen by the student after consultation with the tutor, should demonstrate a different style, genre, or focus for each of the two performances. The pieces should be technically demanding and prepared to a professional level of readiness. Performance skills such as stage presence, communication with an audience, and appropriate appearance and manner will all be taken into consideration as well as the musicality and technical ability shown.

76

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Perform in a range of musical styles and genres Students will be assessed on their ability to: Present two twenty minute performances in contrasting styles within one genre or in different genres Assessment method Performance Exams 1 and 2

2. Use effective preparation and presentation skills for these performances

Consider and adopt appropriate performance and presentation skills, such as posture, musicality, precision in musical execution, confidence, and engagement with an audience Show evidence of advanced technical ability and repertoire

Performance Exams 1 and 2

3. Demonstrate a high level of technical facility and acquire a large repertoire of compositions

Performance Exams 1 and 2

77

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessments 1 and 2: Solo Performances Exams 1 and 2 (20 min. each) Very high marks: These will be awarded to students who demonstrate an exceptionally high level of technical and conceptual mastery of a range of styles and genres during their solo performances. They will have communicated their musical ideas very clearly and displayed confidence in their stage presence Higher range marks: These marks will be awarded to candidates that demonstrate a broad technical and conceptual knowledge of their chosen styles and genres during their performances. They will have expressed their musical ideas clearly and displayed confidence in their stage presence. Lower range marks: These will be awarded to candidates that demonstrate a limited technical and conceptual knowledge of their chosen styles and genres during their performances, and displayed a lack of clarity in their musical approach and stage presence. Fails: Fails will be given when no performance has occurred. Fails will also be given when performances display a severe lack of technical and conceptual knowledge that is completely unintelligible to the marker.

78

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Green, Barry and Galloway, Timothy, 1996. The Inner Game of Music. Doubleday Additional texts: Boud, D (ed), 1989. Developing Student Autonomy in Learning. Govan, Guthrie, 2003. Creative Guitar Books 1,2 & 3. Sanctuary Publishing Green B, 2003. The Mastery of Music: Ten Keys to Musical Excellence. Pan Green B, 2005. The Mastery of Music: Ten Pathways to True Artistry. Pan McGill, T.S., 2007, The Guitar Arpeggio Compendium: Uniblab Publishing Honey P/Mumford A, 1991. The Manual of Learning Styles. Maidenhead Small C, 1998. Musicking: the meaning of performing and listening. Cultural Studies DVD Don't Look Back (dir. D. A. Pennebaker) 1966 DVD Martin Scorsese Presents The Blues Snapper Films 2004 DVD Nirvana - Live! Tonight! Sold out! Geffen 1994 DVD The Beatles: Anthology. Apple 2000 DVD The Rolling Stones: a life on the road (interviews by Jools Holland) Virgin 1998 DVD Foo Fighters Hyde Park/Skin And Bones Sony/BMG 2006 DVD U2 Vertigo 2005 U2 Live From Chicago Island 2005 Websites: For an up to date set of links and e-resources please go to the Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

79

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM 19 Ensemble Performance

Key Information Course: Module Code: Module Level: Module Credits: Pre-requisite module or learning: Module type: Teaching & Learning Lectures: 25 x 2 Hours Tutorials: 1 Hour Personal Development Time: 161 Hours BA (Hons) Professional Musicianship BIMM 19 6 20 None Elective

Module Leader & Tutors

Module Leader: Jason Knight Tutors: Andy Maclure jasonknight@bimm.co.uk andymaclure@ntlworld.com

Module Summary
This module gives the student an opportunity to demonstrate the stylistic versatility and performance skills gained from earlier study in a truly creative environment, which reflects the challenges most professional musicians will face when involved in musical projects. Band and Session musicians alike continually find themselves asked to create their own musical parts in a way that fits and enhances given material. Building on the skills and knowledge acquired in previous Live Performance workshops, as well as BA Year 2 Performance in Context, Professional Musicianship, Theory and Transcription, Studio Musicianship and The Songwriter/Producer, students will work together to arrange original compositions into effective musical performances. In this module students will be given the chords, melody and lyric of an original composition, and be required to create appropriate musical parts which are then work-shopped in a group environment, and performed as an ensemble. In addition to demonstrating effective command of musical and stylistic considerations and ensemble skills including control of timing, tightness, and communication with band members, arrangement skills and performance skills, students will be asked to direct and lead various ensemble combinations. 80

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Giving clearly defined directions, identifying musical problems, suggesting solutions and affecting appropriate change in performance and arrangement will be key elements in the assessment of this module.

Aims
To demonstrate a knowledge of a range of styles and genres and apply them to creative part writing To demonstrate appropriate and professional performance and preparation skills within a musical ensemble To develop and apply good leadership and direction skills within a creative musical situation To demonstrate a high level of technical ability

Indicative Study Topics

Reading and analysis of charts and written melody Applying and experimenting with various music ideas, styles and directions, and evaluating the suitability and effectiveness of each approach Giving and responding to feedback from fellow musicians

Teaching & Learning Methods

Ensemble Performance classes encourage engagement with the theoretical aspects of approaching musical arrangement, as well as practically rehearsing and playing appropriate versions of original material. Students will be formed into study groups who will be given the task of coming up with a musical approach to a song, and then creatively writing musical parts, melodies and harmonies which are appropriate to the style, whilst still maintaining a degree of authenticity to the composition. Bands are encouraged to form from the students in the class, who will then work to create a fully formed arrangement of the supplied track, and rehearse it to a standard appropriate for a live performance. Feedback and direction will be given from the rest of the class, and performers will need try-out and evaluate the suggestions made in their playing and arrangement. The aim is to encourage the best singers and players from the BA course to actively engage with material supplied from the songwriters in the wider BIMM community. Once ready, performances will be filmed or recorded, for fuller class analysis, and as reference when approaching each performance assessment. Great performances will be encouraged to audition for BIMM end of term gigs, and considered for submission to BIMM A&R. The material supplied by these songwriters will vary from a simple chord structure, lyric and melody line, supplied in notated form, to simple recorded demos which will need to be interpreted into a full band arrangement. Students are encouraged to try out various stylistic approaches, and rehearse their parts outside of the class, both 81

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 individually and as a band. Some tracks may therefore take more than one class to become fully formed arrangements.

Formative Assessment
Class based performances will be given formative peer and tutor feedback on written feedback sheets.

Learning Outcomes
On completion of this module a successful student will be able to: 1. Perform in a range of musical styles and genres as a member of an ensemble 2. Use effective preparation and audience communication skills for these performances 3. Demonstrate technical facility, leadership and direction in preparing a range of compositions.

Assessment
No Assessment Methods Performance Exam 1 Performance Exam 2 Length Learning Outcomes Addressed 1, 2, 3 1, 2, 3 Assessment Weighting 50% 50% Formative/ Summative Summative Summative Assessment Week W19-W20 W26-W29

1 2

20 min 20 min

82

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assignment Brief
1. and 2. Ensemble Performance Exams 1 and 2 (20 min each) Individual and Group Work The student will be asked to prepare and perform two twenty-minute selections of material within a group environment. The repertoire will be chosen by the student from the material work-shopped in class, and must be different for each performance. The pieces should be technically demanding, display creativity in part writing, and be prepared to a professional level of readiness. Performance skills such as effective stage management, presence and communication with an audience, and appropriate appearance and manner, will all be taken into consideration as well as the musicality and technical ability displayed. In addition, the timing, tightness, command of arrangement a ppropriate to the instrumentation, and sensitive awareness of the other performers should all be made apparent.

83

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Assessment Criteria
Outcome 1. Perform in a range of musical styles and genres as a member of an ensemble Students will be assessed on their ability to: Select, arrange and rehearse material from session style charts, as a band, for a twenty minute performance Assessment method Performance Exams 1 and 2

2. Use effective preparation and audience communication skills for these performances

Consider and adopt appropriate ensemble performance and presentation skills, such as posture, confidence, engagement with audience, control of timing, tightness, communication with band members, arrangement skills and performance skills Identify musical problems, suggest solutions and affect appropriate change in performance and arrangement. Show evidence of extended technical ability, creative part writing and arrangement skills and performance repertoire.

Performance Exams 1 and 2

3. Demonstrate technical facility, leadership and direction in preparing a range of compositions.

Performance Exams 1 and 2

84

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Marking Scheme
Assessments 1 and 2: Performance Exams 1 and 2 Very high marks: The higher marks in this band will demonstrate ability approaching a professional level of authority and control of the instrument or voice along with a full engagement with the audience. The musicians work will be imbued with personality and the examiner will find the performance exciting, provocative and/or entertaining. The performance will have projection and clarity; the material selected will have a coherent musical direction and will, in an overall sense, strike the examiner as a deeply substantial musical performance, based on deep contextual understanding of creative part writing when approaching original material. Higher range marks: Work obtaining higher range marks will provide a stimulating, or perhaps unexpected performance that indicates a broad understanding of the requirement of creative part writing in original material. Critical listening, a comprehensive technical skill base, and the ability to arrange all musical parts in an appropriate and cohesive manner, will all be displayed. The tracks will have been chosen to work with each other, and be delivered in a fulsome way with no major errors or omissions. Timing and intonation will be mainly controlled throughout the performance. The performance will be engaging and outwardly focused. Lower marks: Students who obtain lower marks will provide an entertaining performance which indicates considerable technical competence but which does not move beyond a workman-like interpretation of the material. They will make appropriate use of dynamics but may lack a fully consistent control of timing and fine intonation. There will be little evidence of contextual understanding requirements of musical arrangement, with incoherent track choices performed with some errors and omissions, although the work will not disintegrate and the candidate will negotiate their way through the essential elements. The musician may lack the skill to control of timing and intonation over changing sections, but show a basic ability to hold a tempo, groove or vocal line over some sections of the piece. Technical skill may be inconsistent but the candidate will be able to perform the fundamental parts even if this lacks any artistic finesse. The performance may be introverted and lack engagement with the examiner or audience.

85

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012 Fails: Work with a Fail Mark will demonstrate an inadequate technical competence and contextual understanding within the performance. Assessed work in this category may demonstrate some or all of these features: inappropriate track choice in an incoherent set list, lack of direction, failure to deliver the fundamental parts within the piece of music, a lack of comprehension of structure, lack of ability to demonstrate basic levels of dynamics, phrasing, intonation and timing and the work may be subject to diversions from the parts. The overall performance may lack cohesion; fall apart and the musician may struggle to negotiate successfully though the changing sections. The performance may be wholly introverted with no engagement with examiner or audience.

86

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Reading List
Core texts: Green, B. and Gallway, T, 1996. The Inner Game of Music. Doubleday Additional texts: Green B, 2003. The Mastery of Music: Ten Keys to Musical Excellence. Pan Greene D, 2002. Performance Success: Performing your best under pressure. Theatre Arts Taruskin R, 1996. Text and Act: essays on musical performance. OUP DVD Nirvana - Live! Tonight! Sold out! Geffen 1994 DVD Beatles Anthology Apple 1997 DVD Ramones: End of the Century Colombia 2006 DVD Jazz: A Film By Ken Burns PBS 2000 Websites: For an up to date set of links and e-resources please go to the Study Direct Site at: https://studydirect.sussex.ac.uk/login/index.php

87

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

An Example of a Weekly Practice/Study Planner

Long-term objective: .. Suggested improvements/further study from last week: .. Goals for this week: ..
Week Daily aim Hours spent Assessment Suggestions for improvement/further study

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

88

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

General Information
Day-to-day information Always check your emails regularly important information is often disseminated in this way. We cannot look after any instruments etc., so please dont ask! No hard instrument cases in the building please just gig bags. Lost property is kept for one month and then disposed of (see Reception to claim). Special guests sometimes visit BIMM at short notice to give talks and masterclasses; so timetabled lessons may occasionally be disrupted. How to contact BIMM staff Who to see? Role: Location & contact information: (NB All staff may be contacted on 0844 2 646 666)
BIMM West Email: markirwin@bimm.co.uk BIMM West Email: scottmcgill@bimm.co.uk BIMM West jonstewart@bimm.co.uk BIMM West Email: elouisahuitson@bimm.co.uk BIMM West Email: angeliquesmith@bimm.co.uk BIMM North Email: lorainepearson@bimm.co.uk BIMM House Email: michellejay@bimm.co.uk BIMM North Email: anthonygiles@bimm.co.uk BIMM House Email: wendylaw@bimm.co.uk BIMM House Email: adambrown@bimm.co.uk

Mark Irwin Scott McGill

Jon Stewart Elouisa Huitson

Assistant Principal -Higher Education and Quality BA Course Leader (General and academic queries, pastoral issues) Senior Lecturer HE Administrator (General enquiries, attendance) Head of Student Support (Student support, pastoral issues, MEC) PA to the Principal Financial Controller Admissions Officer BA Events Manager Library, IT and Technical Support Reception: Booking tutorials, logging absence

Angelique Smith

Loraine Pearson Michelle Jay Anthony Giles Wendy Law Adam Brown Reception

89

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Classroom etiquette Always turn up to lessons punctually Always turn mobile phones off during class No chewing gum Please do not leave a class during a performance Do not take any food or drink (except water) into any of the classrooms Please tidy up after yourself (scraps of paper etc.) If you lose any hand-outs it is your responsibility to get copies from another student. The same applies if you miss a lesson for any reason

Booking tutorials Fill out a tutorial form from BIMM West reception (for HODs & Tutors) or BIMM East reception for HE faculty staff and return it to them, where a time will be booked with the relevant tutor. When you turn up for your appointment, reception will tell you where to meet. If you should need to cancel your tutorial please also inform reception. Tutorials are available with the Assistant Principal HE and Quality, your Course Leader and Heads of Department. In addition, A&R tutorials are available to receive feedback on demo tapes and other musical projects. Please submit demos in advance to Reception and make sure that they include your contact details.

90

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Facilities at BIMM Golden Rules Respect our premises and help us keep the place clean and tidy. Absolutely NO hard instrument cases should be brought into BIMM premises (this is a fire risk). Strictly NO chewing gum, food or drinks on-site apart from in the Common Room. Only WATER IS PERMITTED in studios (no other drinks). Always USE ear protection for live performance classes. Drummers will be required to wear ear protection at all times whilst in the drum studios. There will be regular checks on this. BIMM has ZERO TOLERANCE to drugs and alcohol. NO loitering outside any BIMM sites. From a personal safety point of view, there is fast moving traffic close to each of our sites. Also, out of consideration for our neighbours please keep noise levels to a minimum. Be aware that gathering in groups will restrict others ability to use roads and pavements freely, DO NOT become a nuisance. This will be enforced by all staff. NEVER open any of the windows we have air-conditioning to regulate the temperature within the buildings and it is important that we dont allow noise from BIMM to disturb our neighbours. If you think that the temperature of any rooms needs to be adjusted please see Karl Middleton (Brighton West), Lewis Hoadley(Brighton East) or Adam Tucker (Bristol) and they will be happy to help. You will be given a door entry code to the BIMM Brighton East and Bristol buildings. DO NOT give this to ANYONE, security cameras are recording all the time, so your gear is safe but extra precaution is necessary. Please notify a member of staff if you see anything suspicious. There are NO parking facilities at any BIMM sites. We encourage all students to use public transport where possible when travelling to and from BIMM. ALL STUDENTS MUST be prepared for class and show up 5 minutes BEFORE the class is due to start to get their seat and equipment set up and ready. This should not be done in class time.

91

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM Student Code of Conduct During enrolment week you will receive a copy of this Code of Conduct, which we will require you to sign. This will be held on your personal file.
Health and Safety I will attend to and abide by all rules and regulations regarding Health and Safety as instructed by BIMM staff. I will respect all premises and help keep BIMMs facilities clean and tidy. I understand that NO Hard cases are allowed on site (this is a fire risk). I understand that there is strictly NO chewing gum, food or drinks on site apart from water. I understand that I should always USE ear protection. I understand that NO mobile phones are allowed in classes. I understand that BIMM has ZERO TOLERANCE to drugs and alcohol. I understand that there is NO loitering outside 7 Rock Place or on Brunswick St West. (We have neighbours, so please respect the noise levels and DO NOT become a nuisance. This will be enforced by all staff). I will NEVER open any of the windows (we have air-conditioning and soundproofing, if you have any problems please see Karl Middleton, Neil Kingsbury or Adam Tucker and they will be happy to help). I will not give the code to the buildings to ANYONE (security cameras are recording all the time, so your gear is safe but extra precaution is necessary. Please notify a member of staff if you see anything suspicious. N.B: There are NO parking facilities at BIMM West or BIMM East. Signed: Date: Attendance I will attend 100% of all timetabled sessions. If for any reason I am unable to attend I will inform BIMM through the authorised absence reporting procedure. (This is laid out in your Student Handbook). I will attend all classes on time, arriving 5 minutes before the start of the session to set up. I understand that regular non attendance or lateness will result in disciplinary action. Payment of Fees I will meet all deadlines for payment of fees and understand that non payment will result in my place at BIMM being withdrawn. Personal Details I will keep BIMM informed of any changes in address or telephone number during my time as a student Completion of Work I will complete all assignments and coursework by the set deadline. The most important thing of all I will enjoy my time at BIMM and get the most out of my course!

92

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Loitering in the street As we have stated in the Golden Rules of BIMM it is important that you DO NOT hang out or gather in the street outside either building. Firstly, because it is unsafe for you to do so due to fast moving traffic. Secondly, and in the interest of considering other highway users; large groups of people gathered in a relatively small space can be intimidating to other pedestrians and an annoyance/distraction to vehicle drivers. This is a particularly sensitive issue at the BIMM West site, which is situated in a residential area, and we are keen to maintain the good relationship that we have with our neighbours. The BIMM West site has large bike parking area which, should be used as a smoking and gathering area. Use of the Common Rooms The Common Rooms at the Brunswick Street West and Bristol sites have been put in place to give you somewhere to gather whilst waiting for sessions to start, or in between sessions if you have a break in your timetable. As previously mentioned the Common Rooms are the only rooms within BIMM where it is okay to eat and drink anything other then water. Please show consideration for your fellow learners and BIMM staff by keeping these rooms tidy and clearing up any litter that you may have generated whilst using these rooms. Brighton learners please also note that the BIMM West Common Room houses a TV, which will be updated daily with all the latest news about Guests, Gigs and other Events. It will also give you important information and reminders about exams and assessments. Please make sure that you take the opportunity to use the Common Room regularly to remain up to date with announcements.

93

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Resources
Staffing BA (Hons) Management and Teaching Team In line with BIMM's strategic aim to maintain close links with the music industry all staff contributing to the BA (Hons) course are highly experienced practitioners and the majority have degrees or post-graduate qualifications. Those responsible for instrumental tuition are performers with international reputations, and often members of high profile bands or projects. All have toured, recorded and performed at the highest professional levels. Business studies tutors have predominantly run their own businesses or have held positions in major record labels and music companies. BA (Hons) Staff (NB to get in contact with any member of staff, phone or leave a message at BIMM Reception on 0844 2 646 666). Vaseema Hamilton Mark Irwin Scott McGill Jon Stewart Jason Knight Sarah Jay Franc OShea Jim Williams Pat Garvey Ian Sillett Principal Assistant Principal HE and Quality BA (Hons) Course Leader Senior Lecturer, Head of Business Studies Head of Live Performance Head of Vocals Head of Bass Head of Guitar Head of Drums Head of Songwriting

94

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Module Leaders BA (Hons):

Year 3 Professional Project (double module) Personal & Business Management Analytical Perspectives Commercial Songwriting Music Business Studies Music Teaching Practice Solo Performance Ensemble Performance *Note; Module Leaders co-ordinate the work of all tutors and monitor consistency across instruments within modules. If you have queries that your tutor cannot answer the module leader for the module may be able to help. BA (Hons) Tutors (those not listed above): Kate Cameron Adam Bushell Franc OShea Andy MacLure Pat Garvey Sarah James Elliot May Dan McKinna Johnny Hopkins Briggy Smale

Richard Harvey Neill Thew Jon Stewart Jake Shillingford Darren Sadler Martin Wright Scott McGill Jason Knight

95

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Physical Resources
It is BIMMs policy to provide a genuine working environment for students and in addition to its in-house facilities BIMM runs timetabled sessions at two of Brightons major live venues, Concorde II and The Funky Fish Club and in Bristol we use the famous Thekla on a daily basis for live performance workshops. Each teaching space contains new and vintage equipment carefully selected to give an accurate overview of real-life performing situations. BIMM maintains relationships with various musical instrument companies to ensure a wide range of equipment is available. Guitar and bass backline has been provided by companies such as Orange, Laney, Marshall, Fender and Ampeg. Drum rooms are equipped with Roland V-Drums as well as DW acoustic kits, with cymbals provided by Zildjian and Sabian. All sound re-enforcement is provided by Peavey. BIMM also keeps a stock of guitars from companies such as Fender, Gibson and Tokai to demonstrate a wide range of sounds. BIMM is sponsored by leading manufacturers and distributors of musical instruments and each teaching area contains new and vintage specialist materials (guitars, amps, PA). Manufacturers include: Yamaha, Vox, Fender, Peavey, Roland, Ashdown, Cornford Amplification, Orange Amplification, Sabian and Zildjian cymbals, DW Drums. BIMM also owns a comprehensive inventory of historically important musical instruments by Fender, Gibson and Gretsch. BIMM have a dedicated facilities team who are responsible for all maintenance and support of equipment in the college. Both BIMM Brighton and BIMM Bristol teams are managed by and overseen by the Head of Estates, Karl Middleton. The specialist team ensure the regular servicing of musical instruments and AV equipment. Major tests and repairs are carried out during term holidays. Brighton and Bristol IT support is primarily delivered on site by an in-house technician.

96

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Brighton Estate BIMM West (38-42 Brunswick Street West, Brighton BN3 1EL) Teaching and Learning Resource Centre - IT Suite and Library annexe Live performance and large lecture room with full backline and professional PA system, projector and screen Common room Staff room Two dedicated drum studios containing acoustic kits and 32 electric kits plus backline, PA system, projector CD player etc. Eight dedicated teaching studios with full backline, PA, projectors, whiteboards and comprehensive specialist equipment Main staff offices and tutorial rooms Reception and cycle storage area BIMM East (7 Rock Place, Brighton BN2 1PF) Live room with full backline, PA system and specialist musical equipment Three large teaching spaces (including dedicated drum studio) with capacity for twenty students with full backline, PA, projectors, whiteboards and specialist music equipment Mac Based DAW Suite for Songwriters Offices and Reception BIMM House Brighton (64 Brunswick St West) Basement. IT Resource room (H3). Ground floor. x1 Large Songwriting live performance and teaching room (to accommodate up to 100 learners). This space will be equipped with full backline, PA system and specialist musical equipment, projector, CD player etc Offices and Reception area.

97

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

First floor. X2 Multi purpose teaching studios (to accommodate up to 30 learners) with full backline, PA, projectors, whiteboards and specialist equipment x1 One dedicated drum studio (to accommodate up to 15 learners) containing an acoustic kits and 15 electric kits plus backline, PA system, projector, CD player etc. Second floor. x1 Large live performance and lecture room (to accommodate up to 175 learners), with Sound & Vision recording facility. x1 Multi purpose teaching studio (to accommodate up to 20 learners) full backline, PA, projector, whiteboards plus specialist equipment.

98

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Equipment overview BIMM is sponsored by leading manufacturers and distributors of musical instruments and each teaching area contains new and vintage specialist materials (guitars, amps, PA). Manufacturers include: Yamaha, Vox, Fender, Peavey, Roland, Ashdown, Cornford Amplification, Orange Amplification, Sabian and Zildjian cymbals, DW Drums. BIMM also owns a comprehensive inventory of historically important musical instruments by Fender, Gibson and Gretsch. Rehearsal Facilities: Rehearsal and Practice Room Costs BIMM students are expected to rehearse on a regular basis for the performance and techniques modules on their course. There are a wide range of commercial spaces available for this purpose, however students should be aware that commercial rehearsal facilities involve additional costs that need to be accounted for in their personal financial planning. Commercial Rehearsal Facilities in Brighton & Hove Band rehearsal space may be booked at professional rehearsal studios in Brighton, although you are responsible for the costs of using these facilities. As a rough guide, this works out at around 5 per hour weekdays and 8 per hour evenings and weekends, depending on the studio, choice of room and equipment used. Costs can obviously be shared amongst band members. Here are some of the main commercial studios available in Brighton & Hove (NB some of these also offer additional recording facilities for making demos): Scream Studios Module A1, Enterprise Point, Melbourne Street, Brighton Tel: 01273 671068 www.screamstudios.com Brick House Studio 3b Station Road Portslade Brighton BN41 1GA Tel: 01273 419144 www.brickhousestudio.co.uk Brighton Electric 43-45 Coombe Terrace Lewes Road Brighton Tel: 01273 819617 www.brightonelectric.co.uk Monster Studios Unit 25, Hove Enterprise Centre Basin Road North Portslade East Sussex BN41 1UY Tel: 01273 416699 www.monsterstudios.co.uk Studio 284 284 Madeira Drive (Nr Concord 2) Brighton Tel: 01273 572277 www.studio284.com

99

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Sound Locker Studio Unit 24 Winston Business Centre Chartwell Road Lancing, Brighton BN15 8TU Tel: 01903 767345

Warner Music Studios New England House Brighton Tel: 01273 605550 www.warnermusicstudios.co.uk

A full listing can be found in the Brighton Music Network Directory at http://www.brightonmusic.net/directory/ It is not possible to define exactly how often or for how long each student should rehearse, but it would not be unusual for a student to rehearse for at least one three hour session each week for of term with costs shared between band members. University of Sussex Students' Union Practice Rooms (USSU) USSU has two practice rooms. The band room contains a drum kit, piano, PA, two Marshall amps and a bass amp, and the smaller room contains a piano. Currently the rooms are only accessible on weekdays. Costs are 10 for a year for the small rooms only or 25 for a year to include use of the band room. This is considerably cheaper than commercial rates and the money is used to maintain and update the equipment available. Rooms can be booked with Jo Walters, Student Activities Administrator, between 11am and 4pm. Email activitiesadmin@sussex.ac.uk or call 01273 87 7641. Small rooms can currently be used on a first come first served basis if free but the band room must be booked in advance to ensure security of the equipment. The bookings list will be forwarded to the Falmer House porter who will give the key to the named individual for that time slot. The band room can only be booked in the evenings to avoid disturbing users of the small rooms and nearby offices. There are two slots available to book: 5pm - 7.30pm and 7.30pm - 10pm. If you have any problems or find any equipment damaged please contact Jo Walters.

100

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Brighton Library and IT Provision The Learning Resource Centre is located in the Digital Studies Suite in the basement at BIMM House and houses books and periodicals for reference only. An electronic library hosted by EBSCO is available to all HE students online in the suite and externally. You will be provided with the URL, a login and password during induction. BA (Hons) students also have access to the University of Sussex Library and IT facilities for a full list of books and resources please go to: http://www.sussex.ac.uk/library/. Study Direct Study Direct is the module based learning management system that the University of Sussex is using to deliver online resources to students. The system allows staff to provide a range of resources online including: Lecture notes, hand-outs, power points and web links Important module and course specific information, exam timetables and calendars Glossaries, news feeds and FAQs E-mail groups, Wikis and Blogs allowing collaborative work and online tutorials Tests, Quizzes and feedback, marks/grades etc Online submission Students will be guided through how to access Study Direct at their University Induction session. It is vital that students check their University e-mail regularly

101

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Brighton Resources Inventory

BIMM Learning Resources Room - Information Technology (IT) 10 x HP dc5100 Microtower PCs with Pentium 4 2.8Ghz Processor with HT Technology, 512Mb RAM, 80Gb HDD, DVD-RW, LAN, XP Pro. 10 x 17 TFT Monitors - Acer AL1717As. 2x document scanners. Software The PCs are running Microsoft Office X and they are protected by Symantec AntiVirus Corporate Edition 10.0. MS Office includes MS Word, MS Powerpoint and MS Internet Explorer. The Resource room also has a fast internet and Wi-fi connection.

EBSCO Electronic Library Books

Music-based titles:
Author Year 2011 Smith, Ralph Lee. 2010 Title Encyclopedia Of African American Music Appalachian Dulcimer Traditions {American Folk Music And Musicians ; No. 13; 2nd Ed.} Publisher ABC-CLIO Scarecrow Press University Press Of Mississippi Springer Science & Business Media Course PTR Mcfarland_ Company_Pub lishers Taylor & Francis Routledge Scarecrow Press Greenwood Publishing Group Salem Press Rowman & Littlefield Indiana University Press Scarecrow Press eISBN 9780313342004 9780810874121 Down load? YES YES

Galm, Eric A.

2010

Berimbau : Soul Of Brazilian Music

9781604734065

YES

French, Mark. Gallagher, Mitch.

2009 2009

Engineering The Guitar : Theory And Practice Music Tech Dictionary : A Glossary Of AudioRelated Terms And Technologies

9780387743691 9781598639148

YES YES

Liebman, Roy.

2009

Musical Groups In The Movies, 1929-1970 Music Business : The Key Concepts {Routledge Key Guides} A To Z Of The Broadway Musical {A To Z Guide Series ; No. 94}

9780786452828

YES

Strasser, Richard. Everett, William A.

2009 2009

9780203875056 9780810870444

NO YES

Phillips, William.

2009 2009

Encyclopedia Of Heavy Metal Music Musicians & Composers Of The 20th Century Inventing Entertainment : The Player Piano And The Origins Of An American Musical Industry Great American Symphony : Music, The Depression, And War Jazz Books In The 1990s : An Annotated Bibliography {Studies In Jazz ; No. 61}

9780313348013 9781587655289 9780742564619

YES YES YES

Dolan, Brian.

2009

Tawa, Nicholas E. Greenberg, Janice Leslie Hochstat-.

2009 2010

9780253002877 9780810869868

YES YES

102

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Suskin, Steven.

2010

Show Tunes : The Songs, Shows, And Careers Of Broadway's Major Composers {Rev. And Expanded 4th Ed.} Blues, Funk, Rhythm And Blues, Soul, Hip Hop, And Rap : A Research And Information Guide {Routledge Music Bibliographies} Guide To The Latin American Art Song Repertoire : An Annotated Catalog Of Twentieth-Century Art Songs For Voice And Piano {Indiana Repertoire Guides} Richard Wagner : A Research And Information Guide {Routledge Music Bibliographies; 2nd Ed.}

Oxford University Press Taylor & Francis Routledge Indiana University Press Taylor & Francis Routledge Oxford University Press Premium Elsevier LTD. Mcfarland_ Company_Pub lishers Scarecrow Press Mcfarland_ Company_Pub lishers Continuum International Publishing Group Oxford University Press Mcfarland_ Company_Pub lishers Scarecrow Press Scarecrow Press University Of Chicago Press Palgrave Macmillan (UK) University Of California Press Taylor & Francis Routledge University Of Michigan Press University Of California Press Princeton University Press Oxford University Press University Of California Press

9780199742097

YES

Meadows, Eddie S.

2010

9780203854723

NO

2010

9780253003966

YES

Saffle, Michael.

2010

9780203882214

NO

Demers, Joanna Teresa. Snoman, Rick.

2010 2009

Horstman, Dorothy. Dunaway, David King.

2010

2011

Listening Through The Noise : The Aesthetics Of Experimental Electronic Music Dance Music Manual : Tools, Toys And Techniques {2nd Ed.} America's Best Loved Country Songs : An Encyclopedia Of More Than 3,000 Classics Through The 1980s Pete Seeger Discography : Seventy Years Of Recordings {American Folk Music And Musicians Series ; No. 14}

9780199774487 9780080926964

YES YES

9780786456703

YES

9780810877191

YES

Arnesen, Iris J.

2010

Nine Famous Operas : What's Really Going On!

9780786460069

YES

Kenrick, John. Block, Geoffrey Holden.

2010

2009

Dietz, Dan. Hischak, Thomas S. Naden, Corinne J.

2010 2011 2011 2009

Musical Theatre : A History {Pbk. Ed.} Enchanted Evenings : The Broadway Musical From Show Boat To Sondheim And Lloyd Webber {2nd Ed.} Off Broadway Musicals, 1910-2007 : Casts, Credits, Songs, Critical Reception And Performance Data Of More Than 1,800 Shows Off-Broadway Musicals Since 1919 : From Greenwich Village Follies To The Toxic Avenger Golden Age Of American Musical Theatre : 19431965 Music, Theater, And Cultural Transfer : Paris, 18301914 New Operational Culture : The Case Of The Theatre Industry

9781441191786

YES

9780199741502

YES

9780786457311 9780810877726 9780810877344 9780226239286

YES YES YES YES

u o -Seca, Beatriz.

2009

9780230584600

YES

Kramer, Lawrence. Fuente, Eduardo De La.

2011

Interpreting Music Twentieth Century Music And The Question Of Modernity {Routledge Advances In Sociology ; 54} I Don't Sound Like Nobody : Remaking Music In 1950s America {Tracking Pop} Experimentalism Otherwise : The New York AvantGarde And Its Limits {California Studies In 20thCentury Music ; 11} American Musical And The Performance Of Personal Identity South Pacific : Paradise Rewritten {Broadway Legacies} Celluloid Symphonies : Texts And Contexts In Film Music History

9780520947368

YES

2011

9780203845479

YES

Zak, Albin.

2010

9780472024544

YES

Piekut, Benjamin.

2011

9780520948426

YES

Knapp, Raymond.

2009

9781400832682

NO

Lovensheimer, Jim.

2010

9780199703852

YES

2011

9780520947436

YES

103

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Furia, Philip.

2010

Songs Of Hollywood Dreams Of Difference, Songs Of The Same : The Musical Moment In Film Soundtrack Nation : Interviews With Today's Top Professionals In Film, Videogame, And Television Scoring {Course Technology PTR} Music In The Horror Film : Listening To Fear {Routledge Music And Screen Media Series} Sounds Of The Future : Essays On Music In Science Fiction Film

Herzog, Amy.

2010

Oxford University Press University Of Minnesota Press

9780199714148

YES

9780816670581

YES

Hoover, Tom.

2010

2010

2010 Wierzbicki, James Eugene.

2009 2011

Film Music : A History Buffy, Ballads, And Bad Guys Who Sing : Music In The Worlds Of Joss Whedon Music In Television : Channels Of Listening {Routledge Music And Screen Media Series} Downhome Gospel : African American Spiritual Activism In Wiregrass Country

2011

Mcgregory, Jerrilyn.

2010

Toft, Robert. Touzeau, Jeff.

2011 2009

Plasketes, George.

2009

Banfield, William C.

2010

Hits And Misses : Crafting Top 40 Singles, 19631971 Artists On Recording Techniques B-Sides, Undercurrents And Overtones : Peripheries To Popular In Music, 1960 To The Present {Ashgate Popular And Folk Music Series} Cultural Codes : Makings Of A Black Music Philosophy : An Interpretive History From Spirituals To Hip Hop {African American Cultural Theory And Heritage} Soul Music : Tracking The Spiritual Roots Of Pop From Plato To Motown {Tracking Pop} Rhythms Of The Afro-Atlantic World : Rituals And Remembrances Remains Of Ritual : Northern Gods In A Southern Land {Chicago Studies In Ethnomusicology}

Course PTR Taylor & Francis Routledge Mcfarland_ Company_Pub lishers Taylor & Francis Routledge Scarecrow Press Taylor & Francis Routledge University Press Of Mississippi Continuum International Publishing Group Course PTR Ashgate Publishing Limited

9781435457621

YES

9780203860311

NO

9780786456505

YES

9780203884478 9780810877658

NO YES

9780203831014

YES

9781604737837

YES

9781441116857 9781598637113

YES YES

9780754693826

NO

Rudinow, Joel.

2010

2010 Friedson, Steven M. 2009

Ake, David Andrew.

2010

Jazz Matters : Sound, Place, And Time Since Bebop

Scarecrow Press University Of Michigan Press University Of Michigan Press University Of Chicago Press University Of California Press Scarecrow Press University Of Chicago Press Springer Science & Business Media University Press Of Mississippi University Press Of America Scarecrow Press

9780810872875

YES

9780472022793

YES

9780472027477 9780226265063

YES YES

9780520947399

YES

2009 Faulkner, Robert R. 2009

Annual Review Of Jazz Studies. 14 "Do You Know-- ?" : The Jazz Repertoire In Action Flow, Gesture, And Spaces In Free Jazz : Towards A Theory Of Collaboration {Computational Music Science} Jazz Image : Seeing Music Through Herman Leonard's Photography {American Made Music Series}

9780810869219 9780226239224

YES YES

Mazzola, G.

2009

9783540921950

YES

Pinson, K. Heather.

2010

9781604734959

YES

Salamone, Frank A.

2009

Sandke, Randy.

2010

Culture Of Jazz : Jazz As Critical Culture Where The Dark And The Light Folks Meet : Race And The Mythology, Politics, And Business Of Jazz {Studies In Jazz ; 60}

9780761842071

YES

9780810869905

YES

104

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Adelt, Ulrich. Cheseborough, Steve.

2010

Blues Music In The Sixties : A Story In Black And White Blues Traveling : The Holy Sites Of Delta Blues / Steve Cheseborough {3rd Ed.} Give My Poor Heart Ease : Voices Of The Mississippi Blues {H. Eugene And Lillian Youngs Lehman Series} Beat! : Go-Go Music From Washington, D.C {American Made Music Series; Updated And Rev. New Ed.} Hip Hop Underground : The Integrity And Ethics Of Racial Identification

2009

2009

Lornell, Kip. Harrison, Anthony Kwame.

2009

2009

Rutgers University Press University Press Of Mississippi University Of North Carolina Press University Press Of Mississippi Temple University Press

9780813549484

YES

9781604733280

YES

9780807898529

YES

9781604733433

YES

9781439900628

YES

2010

Hip Hop In America : A Regional Guide Let The World Listen Right : The Mississippi Delta Hip-Hop Story {American Made Music Series} In The Heart Of The Beat : The Poetry Of Rap {African American Cultural Theory And Heritage} Heavy Metal Music In Britain {Ashgate Popular And Folk Music Series} Mods, Rockers, And The Music Of The British Invasion

Neff, Ali Colleen. Pate, Alexs D.

2009 2010

2009

Perone, James E.

2009

Avant-Mier, Roberto. Lenig, Stuart.

2010 2010

Rock The Nation : Latin/O Identities And The Latin Rock Diaspora Twisted Tale Of Glam Rock

ABC-CLIO University Press Of Mississippi Scarecrow Press Ashgate Publishing Limited Greenwood Publishing Group Continuum International Publishing Group ABC-CLIO University Of Queensland Press Lexington Books University Of Minnesota Press Mcfarland_ Company_Pub lishers Mcfarland_ Company_Pub lishers University Of California Press Oxford University Press Rowman & Littlefield Mcfarland_ Company_Pub lishers Oxford University Press Taylor & Francis Routledge Rowman & Littlefield Education

9780313343223

YES

9781604734805 9780810861459

YES YES

9780754693284

NO

9780275998615

YES

9781441167972 9780313379871

YES YES

2010 2011

Off The Record : 25 Years Of Music Street Press Rock Brands : Selling Sound In A Media Saturated Culture

9780702238314 9780739146361

YES YES

Willis, Ellen.

2011

Out Of The Vinyl Deeps : Ellen Willis On Rock Music

9780816676972

YES

Augustyn, Heather.

2010

Ska : An Oral History Early Years Of Folk Music : Fifty Founders Of The Tradition Different Drummers : Rhythm And Race In The Americas {Music Of The African Diaspora ; 14} Singing Out : An Oral History Of America's Folk Music Revivals {Oxford Oral History Series} Lift Every Voice : The History Of African-American Music {African-American History Series} Hot From Harlem : Twelve African American Entertainers, 1890-1960 {Rev. Ed.} Cajun Breakdown : The Emergence Of An American-Made Music Focus : Music, Nationalism, And The Making Of The New Europe {Focus On World Music; 2nd Ed.} Across The Water : Teaching Irish Music And Dance At Home And Abroad

9780786461974

YES

Dicaire, David.

2010

9780786457373

YES

Munro, Martin. Dunaway, David King. Peretti, Burton W.

2010

9780520947405

YES

2010 2009

9780199702947 9780742564695

YES YES

Reed, Bill.

2010

9780786457267

YES

Brasseaux, Ryan A. Bohlman, Philip Vilas.

2009

9780199711314

YES

2011

9780203844496

YES

Farrell, Rebecca E.

2010

9781607095798

YES

105

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

2009 Allen, Paul. 2011

David, Matthew.

2010 2009

Perspectives On Jewish Music : Secular And Sacred Artist Management For The Music Business {2nd Ed.} Peer To Peer And The Music Industry : The Criminalization Of Sharing {Theory Culture & Society} From Demo To Delivery : The Process Of Production {Mastering Music} It All Begins With The Music : Developing Successful Artists And Careers For The New Music Business What Is Music Production? : A Producer's Guide : The Role, The People, The Process How Does It Sound Now? : Legendary Engineers And Vintage Gear Music Business And Recording Industry : Delivering Music In The 21st Century {3rd Ed.} Record Label Marketing Capturing Sound : How Technology Has Changed Music {Rev. Ed.} As Heard On TV : Popular Music In Advertising {Ashgate Popular And Folk Music Series}

Lexington Books Elsevier LTD. Sage Publications, Ltd. Elsevier LTD. Course PTR Elsevier LTD. Course PTR Taylor & Francis Routledge Elsevier LTD. University Of California Press Ashgate Publishing Limited Facts On File, Inc. University Of California Press Harvard University Press Elsevier LTD. University Press Of Mississippi University Of Texas Press Oxford University Press Course PTR Facts On File, Inc. Rowman & Littlefield Education Facts On File, Inc. Taylor & Francis Routledge Ashgate Publishing Limited Oxford University Press Taylor & Francis Routledge

9780739141540 9780240815022

YES YES

9781849204309 9780080928432 9781598639278 9780080928401 9781598639216

YES YES YES YES YES

Grierson, Don. Hepworth-Sawyer, Russ.

2009 2011 2010

Hull, Geoffrey P. Hutchison, Thomas W.

2011 2010

9780203843192 9780240813936

YES YES

Katz, Mark.

2010

9780520947351

YES

Klein, Bethany.

2009

9780754693345

NO

Rauf, Don.

2010

Recording Industry {Career Launcher Series} Spoken Word : Postwar American Phonograph Cultures Selling Sounds : The Commercial Revolution In American Music Indie Rock 101 : Running, Recording, Promoting Your Band {Mastering Music} Starday Story : The House That Country Music Built {American Made Music Series} House Of Hits : The Story Of Houston's Gold Star/Sugarhill Recording Studios {Brad And Michele Moore Roots Music Series; 1st Ed.} Beyond Talent : Creating A Successful Career In Music {2nd Ed.} Rocking Your Music Business : Run Your Music Business At Home And On The Road Careers In Focus. Music {2nd Ed.} Disciplining The Arts : Teaching Entrepreneurship In Context Career Opportunities In The Music Industry {6th Ed.} Unions And Class Transformation : The Case Of The Broadway Musicians {New Political Economy (New York, N.Y.)} Modern Methods For Musicology : Prospects, Proposals, And Realities {Digital Research In The Arts And Humanities} Music In Words : A Guide To Researching And Writing About Music

9781438134154

YES

Smith, Jacob.

2011

9780520948358

YES

Suisman, David. Turgeon, Richard.

2009 2009

9780674054684 9780080957081

YES YES

Gibson, Nathan D.

2011

9781604738315

YES

Bradley, Andy. Beeching, Angela Myles. Cann, Simon.

2010

9780292793118

YES

2010 2009 2009

9780199700059 9781598637304 9781438126456

YES YES YES

2011 Field, Shelly. 2010

9781607092018 9781438128337

YES YES

Mulder, Catherine P.

2009

9780203882351

NO

2009

9780754681755

NO

Herbert, Trevor.

2009

9780199706150

YES

Miller, Terry E.

2009

World Music : A Global Journey {2nd Ed.}

9780203892169

NO

106

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Ball, Philip.

2010

2009 2010 2010

Music Instinct : How Music Works And Why We Can't Do Without It Mathematics And Computation In Music : Second International Conference, MCM 2009, John Clough Memorial Conference, New Haven, CT, USA, June 19 - 22, 2009 : Proceedings {Communications In Computer And Information Science} Music And Esotericism {Aries Book Series, V. 9} Music In German Philosophy : An Introduction Routledge Companion To Philosophy And Music {Routledge Philosophy Companions}

Oxford University Press Springer Science & Business Media BRILL NV University Of Chicago Press Taylor & Francis Routledge Oxford University Press Premium MIT Press Elsevier LTD. Springer Science & Business Media Temple University Press Taylor & Francis Routledge Scarecrow Press Ashgate Publishing Limited Palgrave Macmillan (UK) Taylor & Francis Routledge Springer Science & Business Media Taylor & Francis Routledge Springer Science & Business Media Amsterdam University Press Algora Publishing Scarecrow Press Palgrave Macmillan (UK) Oxford University Press

9780199781393

YES

9783642023941 9789004182790 9780226768397

YES YES YES

2011

9780203830376

YES

Straus, Joseph Nathan. Goodman, Steve. Howard, David M.

2011 2010 2009

Extraordinary Measures : Disability In Music Sonic Warfare : Sound, Affect, And The Ecology Of Fear {Technologies Of Lived Abstraction} Acoustics And Psychoacoustics

9780199830305 9780262258838 9780080961873

YES YES YES

Pantalony, David.

2009

Altered Sensations : Rudolph Koenig's Acoustical Workshop In Nineteenth-Century Paris {Archimedes}

9789048128167

YES

Lubet, Alex.

2011

Music, Disability, And Society

9781439900277

YES

2010 Watson, Alan H. D. 2009

Musical Gestures : Sound, Movement, And Meaning Biology Of Musical Performance And PerformanceRelated Injury How High Should Boys Sing? : Gender, Authenticity And Credibility In The Young Male Voice

9780203863411 9780810863750

NO YES

Ashley, Martin.

2009

9780754696148

NO

Bicknell, Jeanette.

2009

Why Music Moves Us Music In The Human Experience : An Introduction To Music Psychology Music That Works : Contributions Of Biology, Neurophysiology, Psychology, Sociology, Medicine, And Musicology

9780230233836

YES

Hodges, Donald A.

2011

9780203834978

YES

2009

9783211751213

YES

Tan, Siu-Lan.

2010

Psychology Of Music : From Sound To Significance

9780203855362

NO

2010

2009 Witchel, Harry. Elferen, Isabella Van. Hoagwood, Terence Allan. 2010 2009

Music Perception {Springer Handbook Of Auditory Research} Sound Souvenirs : Audio Technologies, Memory And Cultural Practices {Transformations In Art And Culture} You Are What You Hear : How Music And Territory Make Us Who We Are Mystical Love In The German Baroque : Theology, Poetry, Music {Contextual Bach Studies} From Song To Print : Romantic Pseudo-Songs {Nineteenth-Century Major Lives And Letters; 1st Ed.} Antithetical Arts : On The Ancient Quarrel Between Literature And Music

9781441961143

YES

9789048510580 9780875868066 9780810862210

YES YES YES

2010

9780230105706

YES

Kivy, Peter.

2009

9780191568060

YES

107

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Mandel, Howard.

2009

Miles, Ornette, Cecil : Jazz Beyond Jazz

Scruton, Roger.

2009

2010 Peters, Gary. 2009

Understanding Music : Philosophy And Interpretation 100 Most Influential Musicians Of All Time {The Britannica Guide To The World's Most Influential People} Philosophy Of Improvisation Music And Monumentality : Commemoration And Wonderment In Nineteenth-Century Germany

Taylor & Francis Routledge Continuum International Publishing Group Britannica Educational University Of Chicago Press Oxford University Press Taylor & Francis Routledge Mcfarland_ Company_Pub lishers Ashgate Publishing Limited Springer Science & Business Media Oxford University Press BRILL NV Taylor & Francis Routledge Ashgate Publishing Limited Cambridge University Press University Of Michigan Press Oxford University Press New York University Press University Of Chicago Press Temple University Press Mcfarland_ Company_Pub lishers Princeton University Press University Press Of Mississippi Taylor & Francis Routledge University Of Chicago Press

9780203935644

NO

9781441153555

YES

9781615300563 9780226662800

YES YES

Rehding, Alexander. Savage, Roger W. H. Mcvicker, Mary Frech.

2009

9780199736652

YES

2010

Hermeneutics And Music Criticism Women Composers Of Classical Music : 369 Biographies From 1550 Into The 20th Century Dark Side Of The Tune : Popular Music And Violence {Ashgate Popular And Folk Music Series} Living In Worlds Of Music : A View Of Education And Values {Landscapes: The Arts, Aesthetics, And Education ; 8} Sound Commitments : Avant-Garde Music And The Sixties Philosophical And Cultural Theories Of Music {Social And Critical Theory ; V. 8} Sporting Sounds : Relationships Between Sport And Music Protest Music In France : Production, Identity And Audiences {Ashgate Popular And Folk Music Series} Music, Culture And Social Reform In The Age Of Wagner Jewish Orchestra In Nazi Germany : Musical Politics And The Berlin Jewish Culture League Such Freedom, If Only Musical : Unofficial Soviet Music During The Thaw Musical Imagination : U.S.-Colombian Identity And The Latin Music Boom Sound Diplomacy : Music And Emotions In Transatlantic Relations, 1850-1920 Oye Como Va! : Hybridity And Identity In Latino Popular Music Political Folk Music In America From Its Origins To Bob Dylan Reds, Whites, And Blues : Social Movements, Folk Music, And Race In The United States {Princeton Studies In Cultural Sociology} Jazz Diplomacy : Promoting America In The Cold War Era {American Made Music Series}

9780203875155

NO

2011

9780786462186

YES

Johnson, Bruce.

2009

9780754699606

NO

Mans, Minette.

2009

9789048127061

YES

2009 2010

9780199714360 9789004193406

YES YES

2009

9780203887974

NO

Lebrun, Barbara.

2009

9780754694649

NO

Garratt, James.

2010

9781139042000

YES

Hirsch, Lily E. Schmelz, Peter John. epeda, ar a Elena. Gienow-Hecht, Jessica C. E. Pacini Hernandez, Deborah.

2010

9780472025404

YES

2009

9780195341935

YES

2010 2009

9781441636614 9780226292175

YES YES

2010

9781439900918

YES

Epstein, Lawrence J.

2010

9780786456017

YES

Roy, William G.

2010

9781400835164

NO

Davenport, Lisa E.

2009

9781604733440

YES

Kortaba, Joseph. Jeffries, Michael P.

2009 2011

Understanding Society Through Popular Music Thug Life : Race, Gender, And The Meaning Of HipHop

9780203894606 9780226395869

NO YES

108

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Hannon, Sharon M. Matsue, Jennifer Milioto.

2010

Punks : A Guide To An American Subculture {Guides To Subcultures And Countercultures} Making Music In Japan's Underground : The Tokyo Hardcore Scene {East Asia (New York, N.Y.)} Sells Like Teen Spirit : Music, Youth Culture, And Social Crisis Local Scenes And Global Culture Of Psytrance {Routledge Studies In Ethnomusicology ; 2} Music At The End Of Life : Easing The Pain And Preparing The Passage {Religion, Health, And Healing} Adolescents, Music And Music Therapy : Methods And Techniques For Clinicians, Educators And Students

2009

Moore, Ryan.

2010

2010

ABC-CLIO Taylor & Francis Routledge New York University Press Taylor & Francis Routledge

9780313364570

YES

9780203892428

NO

9781441633828

YES

9780203847879

NO

Hollis, Jennifer L.

2010

Mcferran, Katrina.

2010

Till, Rupert.

2010

Pop Cult : Religion In Popular Music Value Of Sacred Music : An Anthology Of Essential Writings, 1801-1918 Jazz Notes : Interviews Across The Generations I Am Hip-Hop : Conversations On The Music And Culture

2009 Josephson, Sanford. Rausch, Andrew J. 2009 2011

ABC-CLIO Jessica Kingsley Publishers Continuum International Publishing Group Mcfarland_ Company_Pub lishers ABC-CLIO Scarecrow Press University Press Of Mississippi Greenwood Publishing Group Oxford University Press Premium Boydell & Brewer Ltd. Continuum International Publishing Group Oxford University Press University Of Chicago Press Scarecrow Press ABC-CLIO Taylor & Francis Routledge Scarecrow Press Oxford University Press Oxford University Press Scarecrow Press Oxford University Press

9780313362217

YES

9780857003768

YES

9781441166265

YES

9780786452712 9780313357015 9780810877924

YES YES YES

Yule, Ron.

2009

Louisiana Fiddlers {American Made Music Series} Guitar Gods : The 25 Players Who Made Rock History

9781604732962

YES

Gulla, Bob.

2009

9780313358074

YES

Lambert, Philip.

2011 2009

To Broadway, To Life! : The Musical Theater Of Bock And Harnick {Broadway Legacies} Benjamin Britten : New Perspectives On His Life And Work {Aldeburgh Studies In Music ; V. 8}

9780199781034 9781846156946

YES YES

Steenstra, Sytze.

2010

Song And Circumstance : The Work Of David Byrne From Talking Heads To The Present

9781441111593

YES

Shipton, Alyn. Cohen, Harvey G. Fox, Charles. Moskowitz, David V. oeda, en . Horowitz, Mark Eden.

2010 2010 2010 2010

Hi-De-Ho : The Life Of Cab Calloway Duke Ellington's America Killing Me Softly : My Life In Music Words And Music Of Jimi Hendrix {The Praeger Singer-Songwriter Collection} ife drift oeda e , Popular Song, And Modern Mass Culture In Japan {Routledge Contemporary Japan Series} Sondheim On Music : Minor Details And Major Decisions {2nd Ed.} Louis Armstrong's Hot Five And Hot Seven Recordings {Oxford Studies In Recorded Jazz} John Coltrane And Black America's Quest For Freedom : Spirituality And The Music Life And Music Of Kenny Davern : Just Four Bars {Studies In Jazz ; No. 63} Studio Recordings Of The Miles Davis Quintet, 1965-68 {Oxford Studies In Recorded Jazz}

9780199722631 9780226112657 9780810869929 9780313375934

YES YES YES YES

2009 2010

9780203886212 9780810874374

NO YES

Harker, Brian.

2011

9780199830671

YES

2010 Meyer, Edward N. 2010

9780199716500 9780810876934

YES YES

Waters, Keith.

2011

9780199830169

YES

109

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Petkus, Ed.

2010

Someone Out There Is Listening : The Life Of Eddie Hazell, Jazz Guitar-Vocalist I Walked With Giants : The Autobiography Of Jimmy Heath Accordion Dreams : A Journey Into Cajun And Creole Music Banjo On The Mountain : Wade Mainer's First Hundred Years {American Made Music Series}

Heath, Jimmy.

2010

Kilpatrick, Blair. Spottswood, Richard K.

2009

2010

Lipsitz, George. Weinstein, Norman.

2010 2009

Midnight At The Barrelhouse : The Johnny Otis Story Carlos Santana : A Biography {Greenwood Biographies} That's Got 'Em! : The Life And Music Of Wilbur C. Sweatman {American Made Music Series} Someone To Watch Over Me : The Life And Music Of Ben Webster {Jazz Perspectives} Christina Aguilera : A Biography {Greenwood Biographies} Eddy Arnold : Pioneer Of The Nashville Sound {American Made Music Series} Mattia Battistini : King Of Baritones And Baritone Of Kings Soul Of The Man : Bobby "Blue" Bland {American Made Music Series} Cultural Seeds : Essays On The Work Of Nick Cave {Ashgate Popular And Folk Music Series} Highway 61 Revisited : Bob Dylan's Road From Minnesota To The World Ramblin' Jack Elliott : The Never-Ending Highway {American Folk Music And Musicians Series ; 12} Ruth Etting : America's Forgotten Sweetheart John Lennon : A Biography {Greenwood Biographies} Hip-Hop Revolution In The Flesh : Power, Knowledge, And Pleasure In Lil' Kim's Lyricism Words And Music Of Van Morrison {The Praeger Singer-Songwriter Collection,} I Wonder As I Wander : The Life Of John Jacob Niles Meeting Jimmie Rodgers : How America's Original Roots Music Hero Changed The Pop Sounds Of A Century Texas Tornado : The Times & Music Of Doug Sahm {Brad And Michele Moore Roots Music Series; 1st Ed.}

University Press Of America Temple University Press University Press Of Mississippi University Press Of Mississippi University Of Minnesota Press ABC-CLIO University Press Of Mississippi University Of Michigan Press ABC-CLIO University Press Of Mississippi Scarecrow Press University Press Of Mississippi Ashgate Publishing Limited University Of Minnesota Press Scarecrow Press Scarecrow Press ABC-CLIO Palgrave Macmillan (UK) ABC-CLIO University Press Of Kentucky Oxford University Press University Of Texas Press Oxford University Press Greenwood Publishing Group ABC-CLIO

9780761848684

YES

9781439902004

YES

9781604733389

YES

9781604734997

YES

9780816673681 9780313354212

YES YES

Berresford, Mark. h ann-Mller, Frank. Donovan, Mary Anne.

2010

9781604733716

YES

2009 2010

9780472025985 9780313383199

YES YES

Streissguth, Michael. Chuilon, Jacques.

2009 2009

9781604733426 9780810867277

YES YES

Farley, Charles.

2011

9781604739206

YES

2009

9780754694663

NO

2009 Reineke, Hank. Irwin, Kenneth. Edmondson, Jacqueline. 2010 2010 2010

9780816668182 9780810872578 9780810869660 9780313379390

YES YES YES YES

Thomas, Greg. Hage, Erik.

2009 2009

9780230619111 9780313358630

YES YES

Pen, Ronald.

2010

9780813125985

YES

Mazor, Barry.

2009

9780199716661

YES

Reid, Jan. Randall, Annie Janeiro.

2010

9780292792852

YES

2009

Dusty! : Queen Of The Postmods Words And Music Of Sting {The Praeger SingerSongwriter Collection} Justin Timberlake : A Biography {Greenwood Biographies}

9780199716302

YES

Gable, Christopher. Summers, Kimberly Dillon.

2009 2010

9781573567299 9780313383212

YES YES

110

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Hackett, Vernell.

2010

Carrie Underwood : A Biography {Greenwood Biographies} Words And Music Of Tom Waits {Praeger SingerSongwriter Collection} Beastie Boys : A Musical Biography {The Story Of The Band Series} Artificial Paradise : The Dark Side Of The Beatles' Utopian Dream Polkabilly : How The Goose Island Ramblers Redefined American Folk Music {American Musicspheres} Grateful Dead In Concert : Essays On Live Improvisation Green Day : A Musical Biography {The Story Of The Band}

Kessel, Corinne. Zwickel, Jonathan.

2009 2011

ABC-CLIO Greenwood Publishing Group ABC-CLIO Greenwood Publishing Group Oxford University Press Mcfarland_ Company_Pub lishers ABC-CLIO University Press Of Mississippi University Press Of Mississippi ABC-CLIO ABC-CLIO Oxford University Press Boydell & Brewer Ltd. University Of North Texas Press Scarecrow Press University Of Michigan Press University Of Nebraska Press Oxford University Press Premium University Of Rochester University Press Of Mississippi Editions Rodopi Oxford University Press Princeton University Press University Of California Press University Of Minnesota Press

9780313378522

YES

9780313349072 9780313365591

YES YES

Courrier, Kevin.

2009

9780313345876

YES

Leary, James P.

2010

9780195349719

YES

2010 Egerdahl, Kjersti. 2010

9780786458288 9780313365980

YES YES

Jones, Roben.

2010

Pruett, David B. Nelson, Murry R. Kootnikoff, David.

2010 2010 2010

Memphis Boys : The Story Of American Studios {American Made Music Series} Muzikmafia : From The Local Nashville Scene To The National Mainstream {American Made Music Series} Rolling Stones : A Musical Biography {The Story Of The Band Series} U2 : A Musical Biography {Story Of The Band} ans on ow : A Life And Times

9781604734027

YES

9781604734393 9780313380358 9780313365249

YES YES YES

Walker, Alan. Lucas, John.

2010 2009

9780199709380 9781846157257

YES YES

Genius Of Valhalla : The Life Of Reginald Goodall Stan Kenton : This Is An Orchestra! {North Texas Lives Of Musicians ; No. 5} Kirill Kondrashin : His Life In Music Rhythm Is Our Business : Jimmie Lunceford And The Harlem Express {Jazz Perspectives} Natalie Curtis Burlin : A Life In Native And African American Music

Sparke, Michael. Tassie, Gregor.

2010 2010

9781441678799 9780810869752

YES YES

Determeyer, Eddy. Patterson, Michelle Wick.

2009

9780472026302

YES

2010

9780803230231

YES

Greenspan, Charlotte Joyce. Rothfarb, Lee Allen.

2010 2009

Lomax, Alan.

2011

Ingram, Dave.

2010

Pick Yourself Up : Dorothy Fields And The American Musical {Broadway Legacies} August Halm : A Critical And Creative Life In Music {Eastman Studies In Music,} Alan Lomax, Assistant In Charge : The Library Of Congress Letters, 1935-1945 {American Made Music Series} Jukebox In The Garden : Ecocriticism And American Popular Music Since 1960 {Nature, Culture And Literature ; 07} Sound Of Broadway Music : A Book Of Orchestrators And Orchestrations Hearing And Knowing Music : The Unpublished Essays Of Edward T. Cone At The Jazz Band Ball : Sixty Years On The Jazz Scene

9780199723089 9781580467131

YES YES

9781604738018

YES

9789042032101

YES

Suskin, Steven.

2009

9780199718825

YES

Cone, Edward T.

2009

9781400830466

NO

Hentoff, Nat.

2010

9780520945883

YES

Ho, Fred Wei-Han.

2009

Wicked Theory, Naked Practice : A Fred Ho Reader

9781441612748

YES

111

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Katz, Ruth.

2009

Language Of Its Own : Sense And Meaning In The Making Of Western Art Music

Hersh, Alan. Emsley, Jason. Buono, Chris.

2010 2011 2010

Pianist's Dictionary : Reflections On A Life Laptop DJ Handbook : Setups And Techniques Of The Modern Performer Your Ableton Live Studio {Course Technology PTR}

University Of Chicago Press University Press Of America Course PTR Course PTR

9780226425986

YES

9780761848394 9781435456655 9781598638363

YES YES YES

Robinson, Keith.

2010

Hiitola, Bethany.

2010

Ableton Live 8 And Suite 8 : Create, Produce, Perform Getting Started With Audacity 1.3 : Create Your Own Podcasts, Edit Music, And More With This Open Source Audio Editor {From Technologies To Solutions}

Elsevier LTD.

9780080961057

YES

Packt Publishing

9781847197658

YES

u rin, Robert. Pacey, Steve.

2010 2010 2011 2009 2011 2010 2010 2010 2011 2011 2012 2010

Hart-Davis, Guy. Anker, Kevin. Cousins, Mark. Smithers, Brian. Prager, Michael. Prager, Michael. Garrigus, Scott R. Mcguire, Sam.

Cubase 5 Power! : The Comprehensive Guide Going Pro With Cubase 5 Making Music With Garageband And Mixcraft How To Do Everything : Ipod, Iphone & Itunes {5th Ed.} Logic Pro 9 Power! : The Comprehensive Guide Logic Pro 9 : Audio And Music Production Pro Tools 101 : Official Courseware, Version 9.0 Mixing In Pro Tools : Skill Pack {2nd Ed.} Propellerhead Record Ignite! : A Visual Guide For New Users Reason 5 Power! : The Comprehensive Guide Sonar X1 Power! : The Comprehensive Guide Video Editor's Guide To Soundtrack Pro : Workflows, Tools, And Techniques {1st Ed.}

Course PTR Course PTR Course PTR Mcgraw-Hill Professional Course PTR Elsevier LTD. Course PTR Course PTR Course PTR Course PTR Course PTR Elsevier LTD. Taylor & Francis Routledge Scarecrow Press Scarecrow Press Scarecrow Press Taylor & Francis Routledge

9781435456075 9781435455764 9781435458710 9780071630238 9781435456198 9780240521947 9781435458819 9781435455818 9781435457096 9781435458628 9781435458512 9780080951805

YES YES YES YES YES YES YES YES YES YES YES YES

Hosken, Daniel W. Silvester, Peter J. Leonard, Kendra Preston. Cooper, Barry.

2011 2009 2009 2009

Introduction To Music Technology Story Of Boogie-Woogie : A Left Hand Like God Shakespeare, Madness, And Music : Scoring Insanity In Cinematic Adaptations Child Composers And Their Works : A Historical Survey

9780203849514 9780810869332 9780810869585 9780810869127

YES YES YES YES

Dunbar, Julie C.

2011

Women, Music, Culture : An Introduction Women Icons Of Popular Music : The Rebels, Rockers, And Renegades {Greenwood Icons} Women Singer-Songwriters In Rock : A Populist Rebellion In The 1990s Women Of Influence In Contemporary Music : Nine American Composers

9780203834770

YES

Havranek, Carrie. Lankford, Ronald D.

2009 2010 2011

ABC-CLIO Scarecrow Press Scarecrow Press Rowman & Littlefield Education Indiana University Press Oxford University Press Rowman & Littlefield Education

9781573567831 9780810872691 9780810877481

YES YES YES

Benham, John L.

2011

Music Advocacy : Moving From Survival To Vision Making Music And Having A Blast! : A Guide For All Music Students {Music For Life} Music Teaching Artist's Bible : Becoming A Virtuoso Educator Collaborative Action For Change : Selected Proceedings From The 2007 Symposium On Music Teacher Education

9781607097822

YES

Blanchard, Bonnie.

2009

9780253003355

YES

Booth, Eric.

2009

9780195368390

YES

2010

9781607093275

YES

112

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Dekaney, Elisa Macedo.

2011

Travel On And On : Interdisciplinary Lessons On The Music Of World Cultures Instrumental Music Education : Teaching With The Musical And Practical In Harmony What's So Important About Music Education? {Routledge Research In Education ; 32} Music And The Young Mind : Enhancing Brain Development And Engaging Learning Threading The Concept : Powerful Learning For The Music Classroom Kaleidoscope Of Cultures : A Celebration Of Multicultural Research And Practice : Proceedings Of The MENC / University Of Tennessee National Symposium On Multicultural Music Teaching Music In American Society : A Social And Cultural Understanding Of Teaching Music Music Education For Changing Times : Guiding Visions For Practice {Landscapes : The Arts, Aesthetics, And Education ; Vol. 7} Music Education In The Middle Ages And The Renaissance {Publications Of The Early Music Institute}

Feldman, Evan.

2011

Goble, J. Scott.

2010

Harris, Maureen. Hedden, Debra Gordon.

2009

2010

Rowman & Littlefield Education Taylor & Francis Routledge Taylor & Francis Routledge Rowman & Littlefield Education Rowman & Littlefield Education Rowman & Littlefield Education Taylor & Francis Routledge Springer Science & Business Media Indiana University Press Springer Science & Business Media Rowman & Littlefield Education Rowman & Littlefield Education Oxford University Press Rowman & Littlefield Education Rowman & Littlefield Education Rowman & Littlefield Education Oxford University Press Oxford University Press Oxford University Press Continuum International Publishing Group Oxford University Press

9781607093121

YES

9780203848920

YES

9780203853221

NO

9781607090632

YES

9781607094425

YES

2010

9781607093039

YES

Kelly, Steven N.

2009

9780203886601

NO

2009

9789048127009

YES

2010

9780253004550

YES

2009

Narrative Inquiry In Music Education : Troubling Certainty Seeking The Significance Of Music Education : Essays And Reflections Building Strong Music Programs : A Handbook For Preservice And Novice Music Teachers Facing The Music : Shaping Music Education From A Global Perspective Enhancing The Professional Practice Of Music Teachers : 101 Tips That Principals Want Music Teachers To Know And Do Singin', Sweatin', And Storytime : Literature-Based Movement And Music For The Young Child Middle School General Music : The Best Part Of Your Day Poetry Into Song : Performance And Analysis Of Lieder Foundations Of Rock : From "Blue Suede Shoes" To "Suite : Judy Blue Eyes" Teaching Music To Students With Special Needs : A Label Free Approach Origins And Foundations Of Music Education : Cross-Cultural Historical Studies Of Music In Compulsory Schooling {Continuum Studies In Educational Research}

9781402098628

YES

Reimer, Bennett.

2009

9781607092377

YES

Ryan, Charlene.

2009

9781607091233

YES

Schippers, Huib.

2010

9780199701933

YES

Young, Paul G.

2010

9781607093060

YES

Hamik, Rebecca E. Mcanally, Elizabeth Ann.

2009

9781607092674

YES

2009

9781607093152

YES

Stein, Deborah J.

2010

9780195357639

YES

Everett, Walter.

2009

9780199718702

YES

Hammel, Alice.

2011

9780199830176

YES

2010

9781441167095

YES

Fisher, Christopher.

2010

Teaching Piano In Groups

9780199714186

YES

113

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

2009

Male Voices : Stories Of Boys Learning Through Making Music Making Music In The Primary School : Whole Class Instrumental And Vocal Teaching Practical Guide To Teaching Music In The Secondary School {Routledge Teaching Guides} Constructing A Personal Orientation To Music Teaching

2011

2009 Campbell, Mark Robin. Clements, Ann Callistro. Gustafson, Ruth Iana.

2010

2010

Field Guide To Student Teaching In Music Race And Curriculum : Music In Childhood Education {1st Ed.} Music Education In Your Hands : An Introduction For Future Teachers Music Education At A Crossroads : Realizing The Goal Of Music For All Alternative Approaches In Music Education : Case Studies From The Field Minds On Music : Composition For Creative And Critical Thinking Harmony For Computer Musicians Geometry Of Music : Harmony And Counterpoint In The Extended Common Practice {Oxford Studies In Music Theory}

2009

Mark, Michael L.

2010

2009

2010

Kaschub, Michele. Hewitt, Michael.

2009 2010

Tymoczko, Dmitri.

2011

Green, Douglass M.

2011

Principles And Practice Of Modal Counterpoint Rubato Composer Music Software : ComponentBased Implementation Of A Functorial Concept Architecture {Computational Music Science}

il eister,

rard.

2009

Nierhaus, Gerhard. Chiavaro, Mike.

2009 2009

Algorithmic Composition : Paradigms Of Automated Music Generation Playing Bass : [Step-By-Step Instruction For Playing The Bass Guitar] {Picture Yourself} Music As Discourse : Semiotic Adventures In Romantic Music {Oxford Studies In Music Theory} Introduction To Music Studies Musical Experience In Our Lives : Things We Learn And Meanings We Make Music Theory Through Improvisation : A New Approach To Musicianship Training

Australian Council For Education Research Taylor & Francis Routledge Taylor & Francis Routledge Taylor & Francis Routledge Taylor & Francis Routledge Palgrave Macmillan (UK) Taylor & Francis Routledge Rowman & Littlefield Education Rowman & Littlefield Education Rowman & Littlefield Education Course PTR Oxford University Press Taylor & Francis Routledge Springer Science & Business Media Springer Science & Business Media Course PTR Oxford University Press Cambridge Etext Rowman & Littlefield Education Taylor & Francis Routledge Taylor & Francis Routledge Course PTR Editions Rodopi Course PTR

9781441617262

YES

9780203834572

YES

9780203877999

NO

9780203848791

YES

9780203890479

NO

9780230622449

YES

9780203863473

NO

9781607092049

YES

9781607098577

YES

9781607091950 9781435456730

YES YES

9780199714353

YES

9780203846551

YES

9783642001482

YES

9783211755402 9781598637229

YES YES

Agawu, V. Kofi.

2009 2009

9780199708314 9780511719318

YES YES

2009

9781578869473

YES

Sarath, Ed.

2010

9780203873472

NO

Takesue, Sumy. Cope, Danny.

2010 2009

Music Fundamentals : A Balanced Approach Righting Wrongs In Writing Songs Reading Song Lyrics {Internationale Forschungen Zur Allgemeinen Und Vergleichenden Literaturwissenschaft ; 137} Composition For Computer Musicians

9780203863541 9781598637472

NO YES

Eckstein, Lars. Hewitt, Michael.

2010 2009

9789042030367 9781598639261

YES YES

114

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Higgins, Lee. Childs, G. W. Wood, Barry. Russ, Martin.

2010 2011 2011 2009

Free To Be Musical : Group Improvisation In Music Making Music With Mobile Devices Waves Plug-Ins Workshop : Mixing By The Bundle Sound Synthesis And Sampling {3rd Ed.}

Rowman & Littlefield Education Course PTR Course PTR Elsevier LTD. Oxford University Press Oxford University Press Taylor & Francis Routledge Scarecrow Press Taylor & Francis Routledge Scarecrow Press

9781607094999 9781435457058 9781435457478 9780080926957

YES YES YES YES

Miller, Richard.

2011

On The Art Of Singing

9780199762170

YES

Meier, Gustav.

2009

Score, The Orchestra, And The Conductor Developing Musicianship Through Aural Skills : A Holisitic Approach To Sight Singing And Ear Training Solo Singer In The Choral Setting : A Handbook For Achieving Vocal Health Becoming A Choral Music Teacher : A Field Experience Workbook Get The Callback : The Art Of Auditioning For Musical Theatre

9780199716906

YES

Cleland, Kent D. Olson, Margaret.

2010 2010

9780203861561 9780810869141

NO YES

Madura, Patrice D. Flom, Jonathan.

2010 2009

9780203868423 9780810869530

NO YES

115

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

(B) Other titles

Topic Author Year Title Publisher eISBN Down load ble? Y/N

Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Studies Cultural Theory

2008 2008 Winkiel, Laura A. 2008

Research methods for cultural studies {Research methods for the arts and humanities} Youth moves : identities and education in global perspective {Critical youth studies} Modernism, race and manifestos Doing cross-cultural research : ethical and methodological perspectives {Social indicators research series ; v. 34.v. 34}

Edinburgh University Press Taylor & Francis Routledge Cambridge University Press Springer Science & Business Media

9780748631193 9780203938836 9780511415531

Y N Y

2008

9781402085673

Ember, Carol R.

2009

2009 2009

2010

Cross-cultural research methods {2nd ed.} Conversation analysis : comparative perspectives {Studies in interactional sociolinguistics ; 27} Education and poverty in affluent countries {Routledge research in education} Routledge international handbook of globalization studies {Routledge international handbooks} Critical transnational feminist praxis {SUNY series, praxis: theory in action} Cultural-historical perspectives on teacher education and development : learning teaching Handbook of research on culturally-aware information technology : perspectives and models Education and social change : connecting local and global perspectives Equity in education : an international comparison of pupil perspectives Imagology revisited {Studia imagologica ; 17} Cross-cultural issues in art : frames for understanding {1st ed.} Balancing acts : youth culture in the global city next generation : immigrant youth in a comparative perspective Public relations in global cultural contexts : multi-paradigmatic perspectives {Communication series} Cultural theory : The key concepts {Routledge key guides; 2nd ed.} Enduring resistance : cultural theory after errida a r sistance pers v re la th orie de la culture (d')apres Derrida {Faux titre ; 348} Cultural theory after 9/11 : terror, religion, media {Substance ; issue 115, v.37/1} In the embrace of the swan : Anglo-German mythologies in literature, the visual arts and cultural theory {Spectrum Literaturwissenschaft/Spectrum literature ; 18} Cultural theory after the contemporary {1st ed.}

AltaMira Press Cambridge University Press Taylor & Francis Routledge Taylor & Francis Routledge State University of New York Press Taylor & Francis Routledge

9780759119116

9780511635236 9780203860335

Y N

9780203870006

2010 2010

9781441636171 9780203860106

Y N

2011

2010 Gorard, Stephen. Zacharasiewicz, Waldemar. Leuthold, Steven. Warikoo, Natasha Kumar. 2010 2010 2011 2011 2011

IGI Global Continuum International Publishing Group Palgrave Macmillan (UK) Editions Rodopi Taylor & Francis Routledge University of California Press New York University Press Taylor & Francis Routledge Taylor & Francis Routledge

9781615208845

9781441172020 9780230277335 9789042032002 9780203835166 9780520947795 9780814707623

Y Y Y Y Y Y

2011 2008

9780203866153 9780203933947

Y N

Cultural Theory Cultural Theory

2010 2008

Editions Rodopi University of Wisconsin Press

9789042030312 9780299238131

Y Y

Cultural Theory Cultural Theory

2010 Tumino, Stephen. 2011

Walter de Gruyter, Inc. Palgrave Macmillan (US)

9783110215915 9780230117020

Y Y

116

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Event Management Event Management Event Management Event Management Event Management

Berridge, Graham. Conway, Des. Matthews, Doug. Matthews, Doug. Van der Wagen, Lynn.

2007 2007 2008 2008

2007

Event Management Event Management

Allen, Judy.

2009

Conway, Des.

2009

Event Management Event Management Event Management Event Management Event Management Event Management Event Management Event Management Media Studies Media Studies

Allen, Judy. Silvers, Julia Rutherford. Mehndiratta, Vaibhav. Mehndiratta, Vaibhav.

2009 2008 2009 2008

Events design and experience {Events management series; 1st ed.} Event manager's bible : How to plan and deliver an event {2nd ed.} Special event production : The process {1st ed.} Special event production : The resources {1st ed.} Human resource management for events : managing the event workforce {Events management series; 1st ed.} Event planning : the ultimate guide to successful meetings, corporate events, fundraising galas, conferences, conventions, incentives and other special events {2nd ed.} Event manager's bible : the complete guide to planning and organising a voluntary or public event {3rd ed.} Confessions of an event planner : case studies from the real world of events : how to handle the unexpected and how to be a master of discretion Risk management for meetings and events {Events management series} Career in event management {1st ed.} Event management {1st ed.} Sport, recreation and tourism event management : theoretical and practical dimensions Event studies : theory, research and policy for planned events {Events management series; 1st ed.} Freelancer's guide to corporate event design : from technology fundamentals to scenic and environmental design Events feasibility and development : from strategy to operation Handbook of research on mobile multimedia {2nd ed.} handbook of mass media ethics

Elsevier LTD. How To Books, Ltd. Elsevier LTD. Elsevier LTD.

9780080468112 9781848031098 9780080554983 9780080554976

Y Y Y Y

Elsevier LTD.

9780080940977

John Wiley & Sons (CAN) How To Books, Ltd.

9780470156186

9781848033399

John Wiley & Sons (CAN) Elsevier LTD. Abhishek Publications Abhishek Publications

9780470737552 9780080560731 9781441653406 9781441659965

Y Y Y Y

Mallen, Cheryl.

2008

Elsevier LTD.

9780080878768

Getz, Donald.

2007

Elsevier LTD.

9780080547152

Halsey, Troy. O'Toole, William.

2010 2008 2009 2009

Elsevier LTD. Elsevier LTD. IGI Global Taylor & Francis Routledge

9780080960920 9780080940595 9781605660479 9780203893043

Y Y Y N

Media Studies

Carey, James W.

2009

Communication as culture : essays on media and society {Rev. ed.}

Taylor & Francis Routledge

9780203928912

Media Studies Media Studies

Orlik, Peter B.

2009 2009

Electronic media criticism : applied perspectives {Electronic media criticism : communication series (Online); 3rd ed.} New media : a critical introduction {2nd ed.} Logics of globalization : studies in international communication Mediawriting : print, broadcast, and public relations {3rd ed.} Mobile multimedia broadcasting standards : technology and practice Understanding media users : from theory to practice

Taylor & Francis Routledge Taylor & Francis Routledge

9780203888551 9780203884829

N N

Media Studies Media Studies

Kavoori, Anandam P. Whitaker, Wayne R.

2009 2009

Media Studies Media Studies Wilson, Tony.

2009 2009

Lexington Books Taylor & Francis Routledge Springer Science & Business Media John Wiley & Sons, Ltd. (UK)

9780739132524 9780203886700

Y N

9780387782638 9781444304961

Y Y

117

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Media Studies

Bivins, Thomas H.

2009

Mixed media : moral distinctions in advertising, public relations, and journalism {2nd ed.}

Taylor & Francis Routledge

9780203874882

Media Studies

Danesi, Marcel.

2009

Dictionary of media and communications

ME Sharpe, Inc.

9780765624673

Media Studies Media Studies Media Studies Media Studies Media Studies

Harindranath, Ramaswami.

2009 2009 2009 2010

Audience-citizens : the media, public knowledge and interpretive practice Doing gender in media, art and culture Convergence media history Comparative media systems : European and global perspectives Noise wars : compulsory media and our loss of autonomy Mainstreaming sex : the sexualization of Western culture Production studies : cultural studies of media industries Journalism and citizenship : new agendas in communication {New agendas in communication} How fantasy becomes reality : seeing through media influence Media events in a global age {Comedia} end of the virtual : digital methods Media convergence : the three degrees of network, mass, and interpersonal communication Cultural diversity and global media : the mediation of difference Ordinary people and the media : the demotic turn {Theory, culture & society} Environment, media and communication {Routledge introductions to environment series}

Sage Publications India Pvt., Ltd. Taylor & Francis Routledge Taylor & Francis Routledge Central European University Press Algora Publishing

9788132101413 9780203876800 9780203883433 9781441677068 9780875867168

Y N N Y Y

Freedman, Robert.

2009

Media Studies Media Studies

2009 2009

I.B. Tauris Taylor & Francis Routledge Taylor & Francis Routledge Oxford University Press Premium Taylor & Francis Routledge Amsterdam University Press Taylor & Francis Routledge John Wiley & Sons, Ltd. (UK) Sage Publications, Ltd. Taylor & Francis Routledge

9781441628947 9780203879597

Y N

Media Studies Media Studies Media Studies Media Studies Rogers, Richard. Jensen, Klaus Bruhn. Siapera, Eugenia. Turner, Graeme. Dill, Karen E.

2009 2009 2010 2009

9780203871263 9780199707263 9780203872604 9789048511280

N Y N Y

Media Studies Media Studies Media Studies

2010 2010 2010

9780203855485 9781444319149 9781849204385

N Y Y

Media Studies

Hansen, Anders.

2010

9780203860014

118

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Media Studies

Kirsh, Steven J. Coleman, Stephen. Durant, Alan.

2010

Media Studies Media Studies

2010 2010

Media and youth : a developmental perspective media and the public : "them" and "us" in media discourse {Communication in the public interest} Meaning in the media : discourse, controversy and debate Writing and the digital generation : essays on new media rhetoric Media today : an introduction to mass communication {3rd ed.} LGBT identity and online new media A/V A to Z : an encyclopedic dictionary of media, entertainment and other audiovisual terms European public sphere and the media : Europe in crisis Media audiences : television, meaning and emotion {Media topics} Handbook of multimedia for digital entertainment and arts Interactive media use and youth : learning, knowledge exchange and behavior Online multimedia advertising : techniques and technologies Global media convergence and cultural transformation : emerging social patterns and characteristics Managing electronic media : making, marketing, and moving digital content Copyright, contracts, creators : new media, new rules twenty-first-century media industry : economic and managerial implications in the age of new media {Studies in new media} Transitioned media : a turning point into the digital realm {The economics of information, communication and entertainment,} Media, organizations and identity Routledge handbook of emotions and mass media {Routledge international handbooks} Mass media and communication Encyclopaedia of mass media Electronic media : then, now, and later {2nd ed.} Media in Europe today Electronic elsewheres : media, technology, and the experience of social space {Public worlds ; v. 17} Narrative revisited : telling a story in the age of new media {Pragmatics & beyond new series, v. 199} A2 media studies : the essential introduction for WJEC Exploring the digital frontier {Advances in librarianship ; vol. 32}

John Wiley & Sons, Ltd. (UK) John Wiley & Sons, Ltd. (UK) Cambridge eText McFarland_ Company_Publis hers Taylor & Francis Routledge Taylor & Francis Routledge McFarland_ Company_Publis hers Palgrave Macmillan (UK) Edinburgh University Press Springer Science & Business Media IGI Global

9781444317442

9781444318180 9780511677045

Y Y

Media Studies Media Studies Media Studies Kroon, Richard W. Turow, Joseph.

2010 2010 2010

9780786455867 9780203852101 9780203855430

Y N N

Media Studies Media Studies

2010 2009

9780786457403 9780230271722

Y Y

Media Studies

Gorton, Kristyn.

2009

9780748630363

Media Studies Media Studies

2009 2011

9780387890241 9781609602086

Y Y

Media Studies

2011

IGI Global

9781609601911

Media Studies Media Studies Media Studies Van Tassel, Joan M. D'Agostino, Giuseppina.

2011 2010 2010

IGI Global Elsevier LTD. Edward Elgar Publishing, Inc.

9781609600396 9780080927800 9781849805209

Y Y N

Media Studies

2010

Media Studies Media Studies Media Studies Media Studies Media Studies Media Studies Media Studies Medoff, Norman J. Ojha, Narendra.

2010 2010 2011 2010 2010 2011 2011

Lexington Books Springer Science & Business Media Palgrave Macmillan (UK) Taylor & Francis Routledge ABD Publishers Himalaya Publishing House Elsevier LTD. Intellect Books University of Minnesota Press John Benjamins Publishing Co. Taylor & Francis Routledge Emerald Book Serials and Monographs

9780739140055

9781441960993 9780230248397 9780203885390 9781441674258 9781441678621 9780240815855 9781841504353

Y Y Y Y Y Y Y

Media Studies

2010

9780816670468

Media Studies Media Studies Woodsworth, Anne.

2010 2010

9789027287700 9780203835661

Y Y

Media Studies

2010

9781849509794

119

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Media Studies Media Studies

Poe, Marshall. Turow, Joseph. Raisborough, Jayne.

2011 2011

History of communications : media and society from the evolution of speech to the Internet Media today : an introduction to mass communication {4th ed.}

Cambridge eText Taylor & Francis Routledge Palgrave Macmillan (UK) IMinds Pty Limited Taylor & Francis Routledge Taylor & Francis Routledge

9780511992896 9780203836514

Y Y

Media Studies Media Studies Media Studies

2011 2009

Lifestyle media and the formation of the self Culture jamming {Pop culture} Foundations of critical media and foundation studies {Routledge advances in sociology} Media perspectives for the 21st century : concepts, topics and issues {Communication and society} four stages of highly effective crisis management : how to manage the media in the digital age How to write about the media today {Writing today} Working on yourself doesn't work : the 3 simple ideas that will instantaneously transform your life {McGraw Hill professional} Unleashing your leadership potential : seven strategies for success

9780230297555 9781921761331 9780203830864

Y Y Y

Fuchs, Christian.

2011

Media Studies Jordan-Meier, Jane. ovares, a l Damacio.

2011

9780203834077

Media Studies Media Studies Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement

2011 2010

CRC Press ABC-CLIO McGraw-Hill Professional Rowman & Littlefield Education

9781439853740 9780313375200

Y Y

Kane, Ariel.

2009

9780071601092

Luc, Edith.

2009

9781578869237

Coleman, David. Quinn, Ryan W.

2009 2009 2009

42 Rules for successful collaboration Lift : becoming a positive force in any situation {A BK business book; 1st ed.} Organization skills {Ferguson career skills library; 3rd ed.} Succeed for yourself : [unlock your potential for success and happiness] {3rd ed.} Exploring leadership and ethical practice through professional inquiry Procrastinator's guide to getting things done Mindful coach : seven roles for facilitating leader development {New and rev. ed.}

Happy About Berrett Koehler Chelsea House Publishers Kogan Page Les Presses de L'Universite Laval Guilford Publications, Inc. John Wiley & Sons, Inc. (US) Marshall Cavendish International (Asia) Pte Ltd McGraw-Hill Professional Kogan Page McGraw-Hill Professional WORD PRESS John Wiley & Sons, Ltd. (UK) Hodder & Stoughton Hodder & Stoughton Electronic & Database Publishing, Inc. Electronic & Database Publishing, Inc.

9781607730255 9781576759028 9781438128382 9780749458683 9781441632289 9781606234792

Y Y Y Y Y Y

Denny, Richard. Smith, irdre. Basco, Monica Ramirez. Silsbee, Douglas K.

2010 2009 2010

2010

9780470579596

Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement Personal Developement

Yeung, Rob. Zeigler, Kenneth. Forsyth, Patrick. andiy n, i . Sinha, Deepti. McGee, Paul. Bird, Polly. Coombes, Frances. Davidson, Jeffrey P. Davidson, Jeffrey P. l

2009 2010 2010 2010 2009 2010 2010 2010

Emotional intelligence : the new rules Organizing for success {2nd ed.} Successful time management {Creating success; Rev. 2nd ed.} Think yourself successful : rewire your mind, become confident, and achieve your goals Personal growth and training & development {1st ed.} Self-confidence Improve your time management {Teach yourself} Motivate yourself and reach your goals {Teach yourself} 19 tips for managing information and technology

9789814312288 9780071740616 9780749459185 9780071751124 9781441657763 9781907312496 9781444124859 9781444124965

Y Y Y Y Y Y Y Y

2010

9781605572642

2010

22 tips for planning for your future

9781605572659

120

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Personal Developement

Davidson, Jeffrey P.

2010

30 tips to become more organized and more accomplished Building a project work breakdown structure : visualizing objectives, deliverables, activities, and schedules {ESI International project management series} standard for enterprise project management {ESI international project management series} Identifying and managing project risk : essential tools for failure-proofing your project {2nd ed.} Project management recipes for success {ESI International project management series} Project management : a systems approach to planning, scheduling, and controlling {10th ed.} Strategic project management made simple : practical tools for leaders and teams

Electronic & Database Publishing, Inc.

9781605572666

Project Management Project Management Project Management Project Management Project Management Project Management

Miller, Dennis P. Zambruski, Michael S.

2009

CRC Press

9781420069709

2009

CRC Press

9781420072464

Kendrick, Tom. De Furia, Guy L. Kerzner, Harold. Schmidt, Terry.

2009 2009 2009 2009

AMACOM Books CRC Press John Wiley & Sons, Inc. (US) John Wiley & Sons, Inc. (US)

9780814413418 9781420078251 9780470502181 9780470442920

Y Y Y Y

Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management

Campbell, G. Michael. Wysocki, Robert K. Andersen, Erling S.

2009 2009 2009

Communications skills for project managers Effective project management : traditional, agile, extreme {5th ed.} Goal directed project management : effective techniques and strategies {4th ed.} Managing project uncertainty {Advances in project management} 90 days to success as a project manager Project success method : a proven approach for achieving superior project performance in as little as 5 days Program management office advantage : a powerful and centralized way for organizations to manage projects Building leadership in project and network management : a facilitator's tool set Strategic project risk appraisal and management {Advances in project management} PMP : project management professional exam review guide {Serious skills} Project manager street smarts : a real world guide to PMP skills {Serious skills The street smarts series} Little black book of project management {3rd ed.} Complete project management methodology and toolkit Project management best practices : achieving global excellence {2nd ed.} Perceptions of project management in traditionally non-PM industry sectors {International journal of managing projects in business, v. 3, no. 1} Successful project management {Creating success; 3rd ed.} Value optimization for project and performance management

AMACOM Books John Wiley & Sons, Inc. (US) Kogan Page Ashgate Publishing Limited Course PTR John Wiley & Sons, Inc. (US)

9780814410547 9780470500422 9780749457556

Y Y Y

Cleden, David. Sanghera, Paul. Padgett, Clinton M.

2009 2009

9780754681748 9781598639391

N Y

2009

9780470550069

Tjahjana, Lia. Franz, HansWerner.

2009

2009

Harris, Elaine. Heldman, Kim. Zaval, Linda Kretz. Thomsett, Michael C. Hill, Gerard M. Kerzner, Harold.

2009 2009

AMACOM Books Springer Science & Business Media Ashgate Publishing Limited John Wiley & Sons, Inc. (US) John Wiley & Sons, Inc. (US)

9780814414286

9783540939566

9780754692119 9780470596111

N Y

2009

9780470596081

2010 2010 2010

AMACOM Books CRC Press John Wiley & Sons, Inc. (US)

9780814415306 9781439801550 9780470639085

Y Y Y

Project Management Project Management Project Management Young, Trevor L. Stewart, Robert B.

2010 2010 2010

Emerald Group Publishing Kogan Page John Wiley & Sons, Inc. (US)

9781849509053 9780749459178 9780470622933

Y Y Y

121

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management Project Management

Davies, Eddie.

2009

Kendrick, Tom.

2010 2010

Project manager's desktop guide Project management tool kit : 100 tips and techniques for getting the job done right {2nd ed.} Perspectives on projects Project 2010 bible Creative project management : innovative project options to solve problems on time and under budget Scrum project management Leadership principles for project success Project execution : a practical approach to industrial and commercial project management Process management : why project management fails in complex decision making processes {2nd ed.} Implementing the project management balanced scorecard AMA handbook of project management {3rd ed.} Convergence of project management and knowledge management Moving from project management to project leadership : a practical guide to leading groups {Industrial innovation series} project manager's communication toolkit Project planning scheduling & control : the ultimate hands-on guide to bringing projects in on time and on budget {5th ed.}

Thorogood

9781854187239

Marmel, Elaine J. Dobson, Michael Singer. Pries, Kim H. Juli, Thomas. Lutchman, Chitram.

2010

AMACOM Books Taylor & Francis Routledge John Wiley & Sons, Inc. (US) McGraw-Hill Professional Taylor & Francis Routledge Taylor & Francis Routledge Taylor & Francis Routledge Springer Science & Business Media CRC Press

9780814414774 9780203891636 9780470877760

Y N Y

2010 2011 2011 2011

9780071739344 9781439825174 9781439834626 9781439838648

Y Y Y Y

Bruijn, Hans de. Keyes, Jessica.

2010 2011

9783642139413 9781439827192

Y Y

2011

AMACOM Books

9780814415443

2010

Scarecrow Press

9780810876989

Bull, R. Camper. Jha, Shankar.

2010 2010

CRC Press CRC Press McGraw-Hill Professional

9781439826683 9781439809969

Y Y

Lewis, James P.

2011

9780071746533

Project Management Project Management Project Management Project Management Project Management

2009

Kendrick, Tom. Baguley, Phil. Samset, Knut. Roberts, Paul.

2011 2010 2010 2011

Handbook of research on technology project management, planning, and operations 101 project management problems and how to solve them : practical advice for handling realworld project challenges Improve your project management {Teach yourself; [New ed.].} Early project appraisal : making the initial choices Effective project management {Business success}

IGI Global

9781605664019

AMACOM Books Hodder & Stoughton Palgrave Macmillan (UK) Kogan Page

9780814415757 9781444124842 9780230289925 9780749461584

Y Y Y Y

Project Management

Williams, Todd C.

2011

Rescue the problem project : a complete guide to identifying, preventing, and recovering from project failure

AMACOM Books

9780814416839

Study Skills

Clegg, Brian.

2008

Studying creatively : A creativity toolkit to get your studies out of a rut

Study Skills Study Skills

Walsh, Frank. Tan, George.

2008 2008

Regis study skills guide {5th ed.} Scholars' secrets : how to get your A's

Taylor & Francis Routledge International Debate Education Association World Scientific Publishing Co.

9780203945551

9781435665187 9789812790033

Y Y

122

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Study Skills

Neville, Colin.

2009

Study Skills

Evans, Mike. Dawson, Catherine. Taylor, Gordon. Kitson, Harry Dexter.

2009

Study Skills Study Skills Study Skills

2009 2009 2009

How to improve your assignment results {Open UP study skills} How to pass your exams : proven techniques for any exam that will boost your confidence and guarantee success {3rd ed.} Introduction to research methods : a practical guide for anyone undertaking a research project {How to books; 4th ed.} student's writing guide : how to plan and write successful essays How to use your mind : a psychology of study {[2nd ed.]}

McGraw-Hill International (UK) Limited How To Books, Ltd. How To Books, Ltd. Cambridge eText The Floating Press McGraw-Hill International (UK) Limited Hodder & Stoughton

9780335237654

9781848033283

9781848033429 9780511650727 9781775413943

Y Y Y

Study Skills Study Skills

Blaxter, Loraine. Walmsley, Bernice.

2010 2010

How to research {Open UP study skills} Improve your study skills

9780335238699 9781444126167

Y Y

123

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Student Services
Careers Advice
The tutorial programme at BIMM encompasses both pastoral support and career development. The breadth of tutor experience affords students advice and support on all areas of the Music Industry. BIMM Directors may also provide additional support on A&R and industry liaison. Career and pastoral advice is readily accessible to all students. Specialist careers and higher education advice is available from the Course Leader and the tutorial team, and visiting music industry professionals representing all aspects of the music business are a regular feature of the BIMM experience. All tutors are practicing industry professionals and their help and expertise is readily available to all students.

Academic Support and Tutorials

Students can book tutorials with the Course Leader, core HE staff and key instrumental and business studies tutors. This facility is available at the front desk (at BIMM West) where a tutorial form should be completed stating the nature of the tutorial required and the name of the tutor whom you wish to see. Email tutorials: students can email the Course Leader with questions relating to course matters. Students will receive a reply within ten working days. Administrative questions should be directed to Jo Partridge, the HE Administrator.

Arrangements for Oversight and Formal Monitoring of Student Progress

Student progress is closely monitored by the HE Team who keep records of each students achievement and of their uptake of both pastoral and career planning tutorials. Attendance is also monitored and there is a system of communication between the Course Leaders and the administrative team to ensure that any persistent lateness or non-attendance is closely tracked and followed up through the tutorial system.

Pastoral and Welfare Arrangements

Students can receive advice and guidance on practical matters from the HE Administrator (HE admin Tel: 0844 2 646 666). The office undertakes to respond to a student's query within five working days, but in the majority of cases it is anticipated that a student will be able to access support immediately. The HE Administrator has the facility to refer the student to a BIMM counsellor upon request. This facility is available to all BIMM students and staff and is funded by the college. The service is confidential.

124

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

The Financial Controller (email: clairegardner@bimm.co.uk) can help with financial queries and cases of financial hardship.

Learning Support
BIMM BA students with Learning Support needs are responsible for their own provision and need to provide a recent diagnosis of any conditions that they have in order to apply for DSA grants. Students who require learning support (e.g. for dyslexia) are required to inform Head of Student Support (Angelique Smith) upon enrolment. Anyone who qualifies for Learning Support in BA Y3 should take a recent diagnosis to the Head of Student Support at the start of Term 1. Anyone without a diagnosis should organise this ASAP, please contact the HE Administrator. We recommend John McKeown Associates: www.jmassociates.co.uk for diagnosis and Lynne Smith www.dyslexialink.co.uk for Learning Support assistance.

Disability Strategy
BIMM aims to have an inclusive approach and students with learning difficulties and disabilities may apply for any course in the College if they meet specified entry requirements. The college is committed to ensuring that disabled people, including those with learning difficulties, are treated fairly. All reasonable adjustments to provision will be made to ensure that disabled students and other disabled people are not substantially disadvantaged. Please contact the Head of Quality and Student Support for further guidance.

Board of Studies
The BA (Hons) programme is required to have a Board of Studies. This is a group of academic staff from the Curriculum Management team and student representatives from each year of the programme. They meet once a term to discuss aspects of the programme, making suggestions and recommendations to relevant staff. The students represent their year group and are responsible for raising issues brought to their attention by other students. The Board of Studies is attended by the Course Leader and the meetings are recorded formally, as are any resulting actions.

125

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Suggestions Students can, at any time, raise individual concerns by sending an email or a written communication to the Course Leader or Assistant Principal HE and Quality.

A&R System
BIMM provides unequalled specialist careers advice for those wishing to work within the music industry, develop music projects or become professional musicians. In addition to the regular tutorial system, specialist staff can provide careers consultations. BIMM Album Each year a selection of BIMM projects that show promise are developed through the production of a BIMM compilation album. This is run with industry support. During the process of recording the album musicians compete for a place on the record, receive pre-production with world-class engineers and producers, and record in professional facilities. Musicians are given the rights to the recordings and any money raised will go to charity.

HE Absence Reporting
To get the most from BIMM you need to be here. Each stage of your course has been designed to fit together to form a complete experience. Any part that you miss will mean that there will be gaps in what you need to know. You may also be letting down the other students in your group. We understand that occasionally you will have reasons to be away that are unavoidable but when this is the case please let us know. If you were employed in a professional context a no-show with no explanation would be taken very seriously and probably get you sacked. We think of you as professionals here so you need to let us know by using the following procedure: If you are absent due to illness or an unexpected problem please call in to BIMM on 0844 2 646666 before 9.00am on the first day of your illness and inform Reception briefly of the details. Reception staff will keep a record of illness and update the relevant department daily. If you know in advance that you are going to be away on a specific day for an unavoidable reason please inform BIMM staff by filling in an absence form at BIMM West Reception. If you will miss more than one day or your absence effects coursework deadlines you must contact your Course Leader at least 3 weeks in advance of the date(s) you will be absent (see below). Absence forms should be used when your absence can be supported with a Doctors note, appropriate professional documentation or other agreed documents. Absences

126

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

can only be authorised if the submitted form is completed correctly with all required details. If you are persistently absent without good reason you will be called for a tutorial with the HE Administrator or your Course Leader. If your absences are found to be unauthorised this may result in the first stage of the disciplinary procedure being instigated.

Authorised Professional Activity

In some instances you may secure professional work that, due to its importance requires you to miss lectures. It is very important to handle this in a professional way. Small-scale pub gigs, demo recordings, sound checks and rehearsals do not come into this category. Examples of work that might be considered as authorised professional activity include: national touring, radio, major label recording sessions, major auditions, job interviews, TV work etc. *Please note that for all HE Modules (Foundation Degree and BA Professional Musicianship) absence from scheduled written, practical or performance exams cannot be authorised under any circumstances. The Mitigating Evidence Committee (MEC) deals with absence from exams due to illness etc. Exam schedules are contained in this manual and published in detail on Study Direct and BIMM Notice boards and you should note them in your own diary. For absences during coursework deadlines we encourage students to submit work early (by arrangement) or in some cases electronically. In both cases it is vital that you contact your Course Leader at least three weeks prior to the deadline. What to do Use the absence form (backed up by a letter from your employer or agent etc) for professional activity lasting one full working day or less that does not affect coursework deadlines. For longer durations of work or cases where coursework deadlines are affected, you will need to clear this with your Course Leader (listed below). You will need to book a tutorial and bring a covering letter (from your employer, agent etc) or further documents detailing the nature of the proposed professional engagement. In most cases the Course Leader will be able to make a decision there and then and advise you on whether your activity will be authorised. In some cases the course leader may refer the case to the Head of Higher Education whose decision is final in these matters.

127

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

HE Course Leaders
BA (Hons) Professional Musicianship: Scott McGill Foundation Degree: Tony Shepherd

Guidance for Course Leaders

Authorised Professional Activity should be work that is of sufficient importance, as to advance a students career aims and objects or provide a significant relevant professional experience. Activity should broadly support the learning outcomes of the programme. Every effort should be made to move work opportunities to periods that do not clash with the BIMM timetable. A balance must be struck between the advantages of undertaking the work and disadvantages of missing lectures or assessment. At BIMM we take attendance very seriously as we are accountable to partner institutions. We expect all BIMM staff to follow this procedure. The Course Leaders will use discretion in determining what is a genuine opportunity of merit and what is merely a desirable activity. A list of suggested work that would come into the authorised category is provided here for illustration, but this is not exhaustive: National touring National radio interviews TV work and interviews Major label recording sessions or similar Major auditions and job interviews Work placements with major publishers and record companies etc.

Lateness
Each session at BIMM starts on time and you need to be there on time to hear the beginning of the lecture. It is in the first few minutes of the class that the tutor introduces the session and the Aims and Objectives that you will achieve. If you miss the beginning of the class you will be missing important information. It is also very disruptive for the rest of the group and disrespectful to the tutor. If you are late this will be recorded on the register. We monitor your instances of lateness across a term. If it becomes apparent that you are persistently late, you will be called in to discuss this at an attendance tutorial. Tutors may, at their discretion decide to exclude you from a session if you are very late and your arrival is disruptive to the group. Remember, many students aspire to progress to the next level of course at BIMM. You will only be considered for this if

128

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

your academic record and studentship is exemplary.

129

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Teaching & Learning

Teaching and Learning Strategy
Context and Aims BIMM commits to providing high quality teaching and support for its learners. The Institute aims to address the differentiated needs of individual learners and ensure that all students have equal and fair access to learning resources. General Policy Statement All Teaching and Learning (T&L) Strategies adopted by BIMM will be flexible, diverse and appropriate to the skills and needs of individual learners. All Teaching and Learning Strategies will incorporate appropriate learning technologies. Regular formative and summative assessment will be used to inform day-to-day teaching and learning and future staff development. The BIMM Curriculum Team is responsible for: Ensuring that tutors teach to a defined curriculum and relate lecture material clearly to assessment and unit learning outcomes Ensuring that the course and assessment requirements are clear to the students Ensuring that teaching staff are assisted and supported with appropriate training to maximise the potential of their teaching Helping the tutors maintain a professional disciplined and relaxed environment conducive to musicians reaching their full learning potential

130

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Teaching & Learning practice reflects the stages of assessment through the BA Hons:
At Level 5 (Year 2) we build on the foundations of level 4 and the bridging modules and students are encouraged to take a more reflective and self-guided approach, devising their own essay titles and projects. T&L therefore centres on group work, experiential learning, discussion and industry field trips and placements. Songwriting experimentation and liaison with outside bodies are further features of learning at this level. At Level 6 (Year 3) students are required to become effective project managers, displaying high levels of self-organisation. They should be displaying the ability to guide their own learning/development and the ability to be both critical and able to respond to criticism positively. BIMM 20 Professional Project requires students to spend the final term managing and executing a substantial project that exists in the commercial world, consolidating the research, project planning and team work skills that they have encountered in the previous two years. T&L offered by tutors therefore leans towards tutorial assistance, seminars, reflection and experiential learning.

The Curriculum
The curriculum is designed to mimic the learning experiences that a young artist or professional musician would experience within their apprenticeship in the industry. With this in mind, the courses are offered within specialist disciplines and focus is placed on the development of high-level instrumental skills. The BIMM BA deals with several disciplines that are relatively new. The electric guitar as a serious instrument for example, has a history of a little over 60 years. This is a small amount of time to develop a recognised study path that is universally accepted. In fact one of the attractions of the instrument is its potential for diversity of approach. Inevitably however the worlds leading players and educators have gravitated towards a few common sense structures and approaches to learning the instrument. The same could be said for bass and drums and modern vocal instruction inspires fierce debate amongst its practitioners as to the best study path. BIMM curriculum has utilised the core elements from all these various structures and this has resulted in courses that is the most effective learning progression available. We aim for a logical and structured progression through the various programme units, with each module supporting the others. Structure, form and logical incremental progression from starting points through these units are key to arriving at a defined outcome and supporting the learning outcomes of the programme. In an approach unique to BIMM, simulated industry environments are used to stimulate the development of the authority and personal voice of the artist. Examining the complexity within simple music forms and encouraging musicians to develop the skills to deliver both technically demanding and simple parts and pieces to the same professional standards, are characteristics of the programme. Students are given the

131

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

opportunity to develop, through classroom work and one-to-one tutorial activity, their own personal career development strategies, and are guided in the formulation of realistic and achievable goals. An entrepreneurial culture and acceptance of the responsibilities necessary to engage successfully with the industry are stimulated and developed through the assignments and classroom activity. A thriving live and business scene, independent of BIMM, and created and managed by students, is a by-product of this. Students also develop their academic skills within this programme gaining the necessary knowledge to progress through the BA honours degree and beyond. BIMM has developed some ground-breaking approaches to modern music teaching and these have been built into the BA delivery model. These approaches support the learning outcomes of the programmes in a variety of ways. One important element of the delivery style is the Motivational micro/macro culture. The small / micro experience features one-to-one personal tutorials and the negotiation and refining of personal goals and targets, both on the course and in the context of a career plan. The medium experience involves regular classes ranging in size from 2 to 20. 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 others learning. Teachers assume the role of producer or coach rather than merely an instrumental teacher. The course content is dynamic, inspired and up to date. The tutor is an inspirational professional with credibility. The large/ macro experience is delivered in groups of 30-60 students are where the BIMM community is celebrated. Philosophical ideas and concepts such as Personal and Business Development are discussed, and collaborative projects such as gigs and the BIMM album are planned. Students begin to learn how to deal with competition, problems and setbacks and celebrate each others success, engage in peer debate, assessment and criticism. The learning environment is absolutely integral to the level of student buy in to their educational experience and their success on the programme. . A key element of the learning environment is that the college simulates professional settings and is perceived as operating independently from the mainstream, but with all the benefits of close partnership. Certain types of students are reluctant to engage in mainstream education culture and are attracted to an environment that is not a standard Further Education (FE) college or University, if it is presented in a manner that creates resonance. Through this BIMM and The University of Sussex widen participation into the programme and, once on the course, the students are much more likely to buy in to the culture and ultimately complete the programme successfully.

132

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

The resources for the programme so far have included access to BIMMs range of teaching studios, learning resource centre, in-house library, various venues and are appended. Broadly speaking these have been sufficient so far to deliver the programme to the satisfaction of the senior management team, students and external examiners but some compromise has been felt in certain areas and we will be discussing our plans for the development of the resources later in this submission.

One to One Tutorial Time

Students are entitled to 20 minutes tutorial time with each of their 7 tutors + 20 mins with Head of Year: 2 hours 40 mins. Also they have the option of arranging tutorials with Head of Departments (8), HE Administrator or Head of Quality & Student Support and the Assistant Principal HE and Quality. All new and returning students also have timetabled one to ones with a member of full time staff in term 1 of each year.

Arrangements for Work-Based Learning (WBL)

BIMM 20 Professional Project is the central focus for WBL within the BA (Hons) course: students take full responsibility for a substantial project that exists in the commercial world. The entire final term of their tenure at BIMM is devoted to implementing and recording a venture that will take them beyond their studies and into employment. Lectures, seminars, workshops and tutorials in the preceding term emphasise WBL skills that will feed directly into the project. It should be noted that the music industry is not generally amenable to large numbers of placements due to the intense level of competition for work experience and internship in the industry. BIMM does, however, nurture a significant number of music industry contacts and is continually developing these relations for the benefit of the student cohort. The college is therefore able to facilitate a high number of industry placements and has regular arrangements with the International Live Music Conference and The Great Escape, both high profile industry events attended by a large number of delegates. BIMM also has regular office-based work experience opportunities through The Great Escape, Brighton Music Network, Sony/BMG and Skint/Loaded Records among others. As such, there is real world industry involvement for a significant proportion of the student cohort, who will be able to incorporate the learning into their Professional Project. All BIMM staff use their extensive contacts to garner as many contacts and opportunities as possible for students to engage with industry. All staff receive training before the start of the academic year, part of which includes information about the importance of industry placement and the kind of opportunities that BIMM requires for students. All industry contacts are interviewed prior to receiving work

133

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

placements, either by the Head of Music Business Studies or by the BA Course Leader. BIMMs unique relationship with industry is one of the extremely strong areas that make the Institute such a special learning environment, is part of the unique selling point to prospective students. . BIMM continually monitors and develops all aspects of this relationship to ensure that placement opportunities are at the highest possible level of industry, are relevant to students, and offer students a safe and secure learning environment. BIMM WBL co-ordinator Mel Thomas works specifically on the Foundation Degree, but is also available for input into BA WBL projects.

Arrangements for preparing and supervising students undertaking projects

During the BIMM 20 Professional Project module, students will consolidate the skills and experience gained through the course of their studies. Students will draw upon their research, project planning, managerial and team working skills. Suggested project topics will have been discussed during the mandatory Research Methods module and it is essential to complete this module prior to commencing the Professional Project. Students will be expected to deliver an appropriate project plan that includes: market research, a project CPA (Critical Path Analysis: a planning and project management tool), and financial planning. Consideration will be given to a students personal development and he/she will be encouraged to adopt advanced time and stress management skills in order to become an effective project manager. Success in this module requires the use of reflective practice skills, as developed in earlier modules. In the final stage of their studies, students will be able to utilise their analysis of past experience to create theories upon which to base models for future working practice.

134

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Tutorial Support
Tutorial support is co-ordinated by the module leader. It is your responsibility to initiate feedback once the lecture period is over, and to book tutorials through the usual system. You are encouraged to submit drafts of your project. Telephone and email support will be available, particularly in the final term when you may be away from college.

Preparation for the Professional Project

Bridging Modules: Learning from Experience Programme Planning & Study Skills Students will learn the basic principles of research and discuss the general construction of the course including the required academic standards such as referencing, note taking, and essay writing. There will be considerable timetabled space for one-to-one discussion during this formative period in the course. Most importantly you will be asked to negotiate and decide on your Professional Project topic, which might include: Touring with live bands Session work Commercial composition Teaching Band management Tour management Writing and recording for music magazines Commercial gigging Clinic performances

BA Modules, which support students in preparing for their project: Level 5 - Research Methods this module continues the work of the bridging modules listed above in introducing students to academic/research methodology and study skills Level 6 - Personal & Business management this module develops skills of analysis and critical reflective practice, the module runs alongside the project and is discretely linked to the main themes

135

General & Assessment Regulations

This section of the manual deals with all matters relating to the standard of work and attendance expected from students, and the procedures for dealing with appeals and misconduct. BIMM has adopted, in broad terms, the assessment procedures and regulations detailed by the University of Sussex. These are available in the Undergraduate Students Handbook 2010/11 and Undergraduate Examiners Handbook 2010/11, which are published in .pdf form on the University web site.

Submission of Work for Assessment

Essay & Written Work Format Unless otherwise specified, written submissions should conform to the following: Format: A4 single-sided, collated and spiral bound (or other secure method of binding ring binders are acceptable), standard white 80g paper Font: 11 or 12 point type in a clear font such as Times or Arial Information: Each page must include your student (candidate) number (in the header) and a page number (in the footer) Spacing: Double-spaced (so the marker has space to write in comments) Presentation: A4 printed and spiral (or other method) bound with a clear plastic cover (no loose leaf and no plastic pockets) Your work is expected to be readable, clearly expressed and correctly spelled (please use a UK spell checker & ask somebody to proof your written work) Bibliography: All written work should include a Bibliography and be referenced using HRS see below Cover Sheet: A cover sheet containing the candidate number, the module name, the assessment (or assignment) title and the word count should be included attached to the front of each submission Submission sheet for non-electronic submissions: If you are submitting your assignment by hand you will need to attach a specific HE submission sheet. You can get these from Jo Partridge in the HE office or from BIMM reception. This form allows us to provide you with a receipt for your work and confirms that the work is your own and properly referenced. Transcription/notation submissions may be hand-written in pen or pencil. All written work should be word-processed unless the brief specifically states otherwise. Written exams will be performed under University exam conditions. All exam locations and times will be published well in advance on Study Direct and BIMM Notice-boards. It is the students responsibility to keep copies of all their work, either in digital, print or photocopied form, including CDs and recorded submissions.

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Word count word counts must be stated at the beginning of all written submissions. There is a 10% margin on word counts (plus or minus 10%) and written work falling above or below this 10% margin will be penalised by 10% of the assessment mark. Although markers are principally looking for well-structured arguments and interesting ideas, poorly written work may be penalised. Students with dyslexia will not be penalised for spelling, structure or grammar. Digital Media All digitally stored work must be backed up twice (for your own peace of mind). Media: CDs or additional materials should be firmly attached (a folder with a CD pocket is advisable). Digital Compatibility: It is the students responsibility to check that audio and video discs (CD or DVD) are formatted correctly (see your assignment brief in this handbook) and that the discs play on standard domestic audio/video equipment (UK standard Audio CD Player or DVD video players). You should test this by playing final disks on 2 or more different machines. If in doubt seek advice from your tutor and remember if we cant play it we cant mark it! Labels: Ensure that your discs are labelled with your candidate number and the assignment name and module title. Avoid using stick on paper labels as these may jam if inserted into slot loading CD/DVD players.

137

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Referencing The Harvard Reference System (HRS)

*When you submit written work, you are signing to confirm that the work that you have submitted is your own and that you have referenced any external sources using the following academic conventions: All written work that uses material from other sources needs to acknowledge the author and location of the quoted work. The Harvard (author-date) system is one way of laying out this information in a standardised form. BIMM asks that you use this method of referencing for all your essays and written submissions. The system covers quotation, footnotes, references and bibliographies. A standard bibliography entry takes the following form: Peck, J. and Coyle, M., 2005. The Students Guide to Writing. 2nd ed. London, Palgrave Macmillan Authors surname, initial, year of publication, title in italics or underlined, edition, place of publication, publisher. A reference to an article in a journal: Dickinson, B. and Hamilton, V., 2007. Carve Your Own Fender. Journal of Guitar Research, 32 (5), 43-63. Author's surname, initials, year of publication, title of article, title of journal in italics or underlined, volume number and part number (with the latter in parentheses), page numbers of contribution. For a full explanation of the system there are many useful websites, including the University of Sussex Study Skills site S3: http://www.sussex.ac.uk/s3/ Different sources give minor variations to the Harvard system, but the key thing is to be consistent and clear in your own work. Course Leader Scott McGill and Senior Lecturer Jon Stewart will be able to advise on matters of referencing and essay writing. N.B. Since the use of unacknowledged material can be construed as plagiarism, be systematic in your essay writing and keep good records of all sources used.

138

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Submission of Coursework (does not apply to exams, presentations, vivas) & Late Penalties Submission dates for coursework are final and not open to negotiation with module tutors or the Course Leader. You will not be able to get an extension (unless you have a registered disability see below) because this is not considered an equitable system for staff or students. We expect you to approach your assessments in a well-organised way, allowing good time for the possibility of minor illness and the range of other normal hurdles in life. To reflect the expectations that work will be submitted on time, even if that means battling through some difficulties, the University and BIMM operate a system of graduated penalties for lateness, which works like this:
Late hand in: Up to 24 hours late after the submission date After 24 hours and up to 7 days late after the submission date After 7 days after the submission date and up to the published final deadline After the published final submission deadline (normally 2 weeks after the hand in deadline check manual and Study Direct for these dates) Penalty: Deduction of 5 percentage points Deduction of 10 percentage points Mark capped at 40%

Fail with zero mark

All coursework should be handed in as specified by this course manual (also posted on Study Direct). Ensure you sign the submission form in the presence of the person collecting the work. Work is recorded as submitted when the last item is handed in, so there is no benefit to submitting bibliographies, appendices, etc. separately and later. Electronic Submission (Study Direct) If submitting work electronically, make sure that you are understand which format is required and what file size restrictions are in place. You may resubmit as many times as you like up until the deadline for submission has expired.

139

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Definition of the final published submission deadline The default final published submission will be 14 days after the assessment submission date set in the BIMM manual and assessment calendars (dates are also available on Study Direct) All assessments will be due to be submitted on the Thursday of the relevant week. Marks may be reduced by allowed-lateness penalties to, but not beyond, the pass mark. This means, for instance, that allowed lateness penalties cannot in themselves prevent progression. Specifically it also means that such penalties may not cause the failure of an assessment unit that is a progress pre-requisite, nor can students be required to resit assessments that they have actually academically passed, as a result of allowed-lateness penalties. There are, however, no limits to the assessment, progression or classification consequences of zero marks that result from missing both the original deadline and the expiry of the period of allowed (but penalised) lateness. Unless mitigating evidence for this degree of lateness is accepted, the zero mark will stand and may indeed affect progression and require resitting of the assessment units in question. Important: Delays in typing or failure of word-processing facilities will not constitute acceptable reasons for non-submission or late submission of work.

140

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Extensions for Students with Registered Learning Difficulties

Students with Learning Difficulties must provide external evidence of such from a registered practitioner in the first term of the academic year. This is to be given to Head of Student Support. Subsequent written work extension requests should be made to the Head of Student Support who will inform the Course Leader BA (Hons), Assistant Principal HE and Quality and HE Administrator. Extension requests must be made pre-emptively, in advance of the work deadline as published in the BA (Hons) manual. This will normally be three weeks, although requests can be made up to the hand in date at the discretion of Head of Student Support and Assistant Principal HE and Quality. Requests cannot be made retrospectively, and non-pre-emptive submission problems will be dealt with via the established MEC procedures. Head of Student Support is to confirm the extension request with the Course Leader and Assistant Principal HE and Quality and let the student know the result. Extensions can only refer to written coursework, and are only to be allowed where this avoids disadvantage in cases of students with registered learning difficulties. Extensions will normally be 5 days only, but up to 10 days can be allowed.

Anonymity in the Submission and Marking of Work

Candidates should submit written work identified only by candidate number and not candidate name. It is the candidates responsibility to remember and use their number. The marking of assessed work will then be conducted anonymously via this candidate number as far as reasonably practical, although examiners cannot guarantee that they will not recognise the work, particularly where tutorial support has been given. Candidate numbers will be also be used in the marking of unseen examinations. In performance assessments; where anonymity is impractical, students will be marked by name and then, the mark will be recorded by candidate number. Students should use their candidate number on all written and notated submissions (see essay regulations). Submissions that contain the candidates name may be returned for removal. Candidate numbers will also be used to return marks via notice boards and email.

Procedures for Double Marking

Candidates are principally assessed and marked by the module tutor(s). A range of work is also double-marked by the module leader or a second tutor or Head of Department and this process is verified through external examination. Practical examinations are recorded on to digital tape for consideration by the external examiner.

141

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

All marks are subject to the scrutiny of the Examinations Board, which meets twice yearly to consider all aspects of assessment on the BA (Hons).

Return of Marks
BIMM aims to inform students of their marks within 15 working days of submission (or performance), by email and notice-board (anonymously by candidate number). Students should be aware that marks returned in this way are for guidance only, and remain unverified until ratified by the Examination Board, which has the power to alter grades in line with UoS rules and regulations.

External Assessment
Following the double-marking process, grades are subject to moderation by an External Examiner who is responsible for reviewing assessed work, external examiners will scrutinise at least 20% of all assessed work.

Failure of modules or failure of pass required assessments

If you fail a module or a pass required assessment (these assessments are clearly marked in the study guides) you will probably be required to resit the assessment(s) you have failed (unless you have mitigation in which case you may be offered the opportunity to resit without penalty, this is called a sit). These decisions are taken by the exam board according to the assessment regulations laid out below. Resits and sits are conducted in August (normally the last 2 weeks) and you will be expected to attend as you may not be able to progress to the next stage of the programme without passing these modules/assessments.

Mitigating Evidence Committee (MEC)

Mitigating Circumstances refers to instances where you have missed assessments due to unavoidable events, which are out of your control; this could be illness, a death in the family or any of a number of incidents. Extenuating Circumstances and Mitigating Evidence There are some situations where extenuating circumstances may be taken into account: (a) work submitted up to 24 hours after the submission deadline; (b) work submitted more than 24 hours after the submission deadline and up to 7 days (1 week) late; (c) work submitted more than 7 days (1 week) late and up to the final retrieval

142

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

opportunity (d) work submitted after the final retrieval opportunity; (e) non-submission of work; (f) absence from examinations; (g) work which has been submitted but where circumstances may have significantly impaired your performance. Evidence relating to specific instances of late or non-submission and absence from examinations (or other in-person assessment) Late submission, non-submission or absence from an examination can all have an impact on the final marks for your courses. Non-submission or absence from an examination may also prevent normal progress from one stage of your programme to the next and, where applied to work that counts towards classification, may also ultimately affect your final degree class. It is therefore always best to approach assessment matters in a well-organised way, allowing good time for contingencies in order to submit assessments and attend your examinations on time. Rather than give extensions (which are very problematic to administer fairly for submissions, and impossible for unseen exams) the college policy is to adhere to stated deadlines but to give you the opportunity for late submission of coursework with minor penalties (5-10%) for up to one week late with a capped mark (40%) applied for very late work. Very rarely, circumstances do sometimes arise beyond your control and result in you missing a final deadline. In such circumstances you will have the opportunity to submit mitigating evidence for consideration by the BIMM Mitigating Evidence Committee (MEC) chaired by the Head of Quality and Student Support. 1. In order to have your extenuating circumstances considered, you must produce independently verified written evidence which must be obtained on the day in question or as close to it as possible. A medical certificate provided as evidence to explain absence from an examination or late/very late or nonsubmission must relate to the day on which the assessment was due, or to the period over which the exercise was due to be completed. Minor medical grounds will not be deemed an adequate explanation for absence from an examination, or failure to submit: there needs to be evidence of severe illness or severe incapacitation for another reason.

2. Clearly, during the academic year you may suffer from head-colds, minor infections, minor physical injuries, and short-term illnesses. Please be clear that this type of impairment will generally not be accepted. As an adult, you are expected to act prudently with regard to deadlines so that minor illnesses and mishaps do not prevent you from completing assessed work on time. However, if you do feel that you have a case for consideration of serious impairment (and this may include issues such as anxiety, stress and family problems), the evidence you produce including medical certificates should relate the period of impairment clearly to the courses and assessments that

143

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

were affected, as well as setting-out the circumstances and severity of the impairment. Confidentiality of evidence 3. Evidence is handled under conditions of strict confidentiality. Sensitive matters are not discussed in detail at subject examination boards. Sight of evidence is always limited to the smallest possible number of BIMM staff.

Advice for obtaining Medical Certificates 4. It is your responsibility to obtain medical evidence yourself. Medical certificates must identify you by name.

5. When you consult your doctor please inform him or her that we need to know the precise dates of the period to which the certificate relates and also to have an estimate of the degree of impairment. Any medical evidence provided must be signed by a recognised professional medical or nursing practitioner, whose name and address must be clearly stated. 6. Impairment (and this may include issues such as anxiety, stress and family problems), the evidence you produce including medical certificates should relate the period of impairment clearly to the courses and assessments that were affected, as well as setting-out the circumstances and severity of the impairment. Confidentiality of evidence 7. Evidence is handled under conditions of strict confidentiality. Sensitive matters are not discussed in detail at subject examination boards. Sight of evidence is always limited to the smallest possible number of BIMM staff.

Advice for obtaining Medical Certificates 8. It is your responsibility to obtain medical evidence yourself. Medical certificates must identify you by name. When you consult a doctor you should explain, that the college needs to know the precise dates of the period to which the certificate relates and also to have an estimate of the degree of impairment. Any medical evidence provided must be signed by a recognised professional medical or nursing practitioner, whose name and address must be clearly stated. The MEC needs evidence to be convincing and comprehensive in order to act upon it. Medical Certificates and letters need to be as detailed as possible and need to precisely indicate the periods of time in which the illness or condition was affecting the candidates performance. Independent

9.

10.

144

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

corroboration is vital, therefore letters from student support staff, or tutors will not be accepted. 11. Non-trivial psychological conditions need to be corroborated by appropriate certification from a doctor or counsellor. In cases where bereavement has occurred or a significant duty of care has arisen or deepened, candidates are advised to get independent corroboration from a family doctor or relative.

Submission of evidence 12. You should complete the Mitigating Evidence form. Student support Staff can offer information and advice on how to complete the form. After completing the form (which will include your statement) your input will be stored in the database. It is the role of the Mitigating Evidence Committee (MEC) to consider your claim and supporting evidence and to determine whether this is acceptable or not. There are three outcomes: (a) For late submission the MEC decides whether the evidence is acceptable or not, and also decides the outcome by either condoning the lateness or not, at which point the penalty may or may not be waived. The marks array presented to the subject examination board takes account of the MEC decision. If the MEC does not condone the lateness the following penalties will apply:
Late hand in: Up to 24 hours late after the submission date After 24 hours and up to 7 days late after the submission date After 7 days after the submission date and up to the published final deadline After the published final submission deadline (normally 2 weeks after the hand in deadline check manual and Study Direct for these dates) Penalty: Deduction of 5 percentage points Deduction of 10 percentage points Mark capped at 40%

13.

Fail with zero mark

Deadline for submission 14. It is your responsibility to ensure that evidence is submitted at the earliest possible opportunity. There are also specified deadlines for the submission of evidence in time to be considered by the final MEC prior to the meetings of subject examination boards. Evidence submitted beyond the relevant deadline will not be accepted, however, in exceptional circumstances the regulations

145

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

do allow for an appeal to be lodged. Further information, including confirmation of final deadlines, will be made available on the BIMM VLE. How mitigating evidence is used 15. For non-submission or absence from an examination or other inperson assessment, the MEC decides whether the evidence is acceptable or not but does not decide the final outcome. The Examination Board decides the outcome and retains responsibility for ensuring that all key learning outcomes have been met. For example, where a student is missing a mark for one of several assessment elements for a module, the Examination Board would remain responsible for deciding whether a mark composed of those other elements can stand without requiring the student to submit the missing elements. In most cases, where evidence is accepted and an absence condoned, the Examination Board will expect the assessment, or an alternative, to be taken at another time. For submitted work, which is subject to a claim of impaired performance, the MEC decides whether the evidence is acceptable or not. The Examination Board decides the outcome. This does not mean that marks will be adjusted but that, in general, you will be offered a repeat of affected assessments to improve your mark. Where a final year candidate has met all other programme requirements, and there is evidence of impairment, this may be taken into account in determining degree classification where the candidate falls close to or within a borderline. If you have achieved sufficient credit to progress but have failed a module and are offered a further attempt (sit) after presenting mitigating evidence you should ensure that you take that sit (and any further resit opportunity) as failure to do so will affect your final degree classification.

16.

17.

Impairment because of alleged failure of academic provision 18. Where impairment is considered to be as a result of academic reasons, for example where it is alleged that there are problems in the teaching of a course, you should contact, in the first instance, the Assistant Principal HE and Quality. The Assistant Principal HE and Quality is empowered to review such cases and to make decisions that will apply to an individual or a cohort. The MEC will receive reports from the Course Leader with adjustments as appropriate. The outcome will be transmitted to the Chair of the relevant Subject Examination Board.

Failure of word-processing/computing equipment 19. Submission deadlines are real deadlines. Delays in typing or the unavailability or failure of word-processing or printing facilities will not constitute acceptable reasons for failure to meet deadlines. However,

146

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

examination boards may take into consideration the systematic failure of college computing facilities, which prevented submission (NB this does not apply to printing backlogs on the day of submission). Failure of personal computer equipment should not be considered an excuse for late submission as it your responsibility, through proper data management, to have backups of your work.

Failure of modules or failure of pass required assessments

If you fail a module or a pass required assessment (these assessments are clearly marked in the study guides) you will probably be required to resit the assessment(s) you have failed (unless you have mitigation in which case you may be offered the opportunity to resit without penalty, this is called a sit). These decisions are taken by the exam board according to the assessment regulations laid out below.

Resits
If you fail an assessment you will probably be asked to resit depending on whether the failure will cause you to fail the module or is pass required. If you resit it will be for credit only and your original mark (Sit) will stand for classification. Resits and sits are conducted in August (normally the last 2 weeks) and you will be expected to attend as you may not be able to progress to the next stage of the programme without passing failed modules/assessments. Attendance Procedure (see previous section on absence reporting) Students must attend all lessons and other timetabled commitments throughout their programme. Whenever a student is absent s/he must be prepared to explain the reasons for absence upon their return to college, and to produce satisfactory evidence to justify it. All absences should be notified on forms available at BIMM West reception. Implementation It is the responsibility of subject tutors to record all absences and to check their registers weekly. All absences should be followed up upon the students return to the Institute. The administration team will also notify tutors and the Course Leader of unauthorised absence from the computerised records. On the first occasion the student will receive an informal warning via email. On the second occasion, a formal warning will be issued via a standard letter, and the student may be asked to attend a tutorial with the HE Administrator. Subsequent concern over attendance will result in; a meeting with the Course Leader, the Head of Higher Education or even the Principal.

147

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

At this stage, students will be warned that any further unauthorised absence may result in the permanent withdrawal from the module(s) in question and/or the BA (Hons) programme. With respect to longer continuous periods of unauthorised absence, a student may be withdrawn from the programme, if they are continuously absent from BIMM without reason for a period of three weeks.

Arrangements for intermission

BIMM Arrangements for Intermission Policy Students who wish to intermit between Stages 1 and 2 will be required to have fulfilled the progression requirements before intermission. Any student who has intermitted will be classified in accordance with the weighting scheme and assessment criteria, which relate to the year/stage in which the student is finally assessed and classified (and not the scheme in operation when the student initially registered). A student may be allowed intermission from study at any point in the academic calendar. However, because most modules are year long, re-admission is normally only possible at the start of an academic year. We would prefer, therefore, that students intermit only after completing the year of study on which they are registered, i.e. at the end of Year Two/Level 5, in order that, all modules from that year are completed, appropriate credit achieved and progression requirements satisfied. In the case of genuine hardship or illness BIMM will endeavour to be a flexible as possible and may (at BIMMs discretion) allow a student to resume studies at any point after assessing the individual case and the level of additional support required to ensure that the student is not unduly disadvantaged. If the intermission period extends to more than twelve months and the individual would miss more than one academic year BIMM reserves the right to reassess the individuals case before readmitting them to the course. This will ensure any unforeseen circumstances, such as changes to the course structure, will not hinder successful progression through the remainder of the course.

Drugs and Alcohol

BIMM has a zero-tolerance policy on drug and alcohol use. Students are not allowed to bring alcohol or drugs (other than those medically prescribed) into the Institute, or to any Institute function or event. They must not consume alcohol or drugs at any time or place, on or off the campus, during their Institute day. Continued effects of earlier consumption will be treated as seriously as the above. Any student caught infringing these rules will be asked to leave the college.

148

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Dont forget! Coming to college under the influence is a serious business. You will be caught and the penalties are severe. Dont risk it. Accidental infringement is no defence!

Award Criteria and Classification Overview Generic Marking Scheme

Marking Scheme (BA) Degree qualifications are divided into First, Upper Second (2:1), Lower Second (2:2) and Third Class grade bands. Assessments are marked as percentages, which translate to classmarks as follows: First Class Second Class, Division I Second Class, Division II Third Class >70% 60-69.99% 50-59.99% 40-49.99%

149

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

General Marking Scheme BA (Hons) Professional Musicianship

80-100% Denotes work approaching professional quality in all key areas. Outstanding skill and ability is exercised equally with regard to form, content and purpose. Demonstrates an exceptional degree of commitment, creativity, research and contextual understanding. The quality and vision of the work engages the imagination, spirit and emotions of the recipient. 70-79% Exceptional work - articulate, imaginative and thorough. Clearly and purposefully structured, maintaining a high level of audience interest. Work that is exciting and innovative as well as being commercially and technically confident. All elements combine to consciously create the required finished product. Makes consistent reference to external knowledge, its relationship to the work and illustrates clearly what has been learned through the process. 60-69% A stimulating, engaging and successful piece of work, which fulfils its aims with precision. Cohesive in structure and impact, but perhaps exhibiting some minor flaws. May have many of the qualities of work in the categories above but without the same level of excitement, vision, accuracy or originality. Makes reference to external knowledge, its relationship to the work and illustrates what has been learned through the process. 150

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

50-59% Successful in meeting its aims and meaningful to the recipient, though there may be minor problems with structure or execution. A well considered and produced piece of work that meet and in parts exceeds the intended outcomes. Overall, technically competent, but may omit some significant (but not vital) aspects of the task set. Reference to knowledge learned in class and some connection with ideas and the meaning of the work. 40-49% Overall the work shows some degree of competence although there are some obvious technical problems. Often lacking in imagination and perhaps conventional in approach or concept. The work may communicate with difficulty; the recipient may have to concentrate to find meaning. May have elements that are poorly structured and confused. Lacking in cohesion and may be poorly presented, the work does impart a message, but only partially and may be deficient in individuality or creativity. 0-39% (fail) Fails to meet the principal requirements of the assignment brief and the work has limited meaning. Fails to communicate a coherent message, perhaps through a mixture of lack of logical thought, poor organisation of material and/or technical incompetence. Shows significant omissions in content, or the meaning is confused with irrelevant material and displays little or no contextual awareness.

151

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

It may be possible for a student to show basic technical proficiency, but is unable to apply these skills to produce meaning.

152

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Policy on plagiarism, collusion and misconduct

Academic misconduct
It is an offence for any student to be guilty of, or party to, attempting to commit or committing collusion, plagiarism, or any other misconduct in an examination or in the preparation of work that is submitted for assessment. Misconduct in assessment exercises, examinations or in the presentation of marks achieved elsewhere is conduct likely to be prejudicial to the integrity and fairness of the examination process. The submission of a dissertation, essay or any other assessment exercise will be considered by the examiners to be a declaration that it is the candidate's own work.

Collusion
Collusion is the preparation or production of work for assessment jointly with another person or persons unless explicitly permitted by the examiners. An act of collusion is understood to encompass those who actively assist others as well as those who derive benefit from others work. Where joint preparation, is permitted by the examiners but joint production is not, the submitted work must be produced solely by the candidate making the submission. Where joint production or joint preparation and production of work for assessment is specifically permitted, this must be published in the appropriate course documentation. Assessments in this handbook are clearly marked as individual or group work, please consult your tutor or module leader if you are unsure about group or individual assignments.

Plagiarism
Plagiarism is the use, without acknowledgement, of the intellectual work of other people, and the act of representing the ideas or discoveries of another as ones own in written work submitted for assessment. To copy sentences, phrases or even striking expressions without acknowledgement of the source (either by inadequate citation or failure to indicate verbatim quotations), is plagiarism; to paraphrase without acknowledgement is likewise plagiarism. Where such copying or paraphrase has occurred the mere mention of the source in the bibliography shall not be deemed sufficient acknowledgement; each such instance must be referred specifically to its source. Verbatim quotations must be either in inverted commas, or indented, and directly acknowledged.

153

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Personation
Personation is where someone other than the student prepares the work submitted for assessment. This includes purchasing essays from essay banks, commissioning someone else to write an assessment or asking someone else to sit an examination. Students who attend an examination without their student ID-card of other acceptable form of photo-ID will not have their examination script marked until their identity has been confirmed. The College takes personation extremely seriously and any suspicion of personation will result in an investigation of potential academic misconduct

Misconduct in unseen examinations

Misconduct in unseen examinations includes having access, or attempting to gain access, during an examination, to any books, memoranda, notes, unauthorised calculators, or any other material, except such as may have been supplied by the invigilator or authorised by official University bodies. It also includes aiding or attempting to aid another student, or obtaining or attempting to obtain aid from another student, or any other communication within the Examination Room.

Fabrication of results
All instances of plagiarism, collusion, fabrication of results, or misconduct in an unseen exam are serious failures to respect the integrity and fairness of the examination process.

Non-Contributory Work
In the case of non contributory work, which contains material that would otherwise be subject to misconduct procedures were the work to be contributory, and such potential misconduct is identified, students should be referred to the published guidance on avoiding plagiarism and may receive advice as to future conduct. A 'notice of advice', which should include an indication of the guidance provided, may be held on the student's file. The student will be notified at their registered address if such a notice is retained. The notice of advice may be used only to establish that appropriate guidance has been provided, and may not be used to establish the extent of guilt should subsequent cases arise.

Investigation of misconduct
If a member of staff has sufficient reason to suspect that misconduct has taken place, an investigation into the case will be held. Candidates must be available, if required, to attend an academic misconduct hearing at BIMM. The hearing will 154

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

adhere to the following procedures and allows the student to be accompanied by a parent or supporter if they desire. The BIMM assessment procedures are designed to enable the identification of plagiarism, personation and collusion, and the college may make use of electronic means in reviewing student work. Where there is evidence indicating that there may be a case of collusion or plagiarism or personation the assessment is referred to the Investigating Officer who will investigate the case in detail.

Investigating Officer
An Investigating Officer is appointed for each course. Investigating Officers may also act as Misconduct Panel members in cases where they have not determined the prima facie case. Where Investigating Officers believe misconduct has occurred in work done by students they have taught or by their personal tutees, they will pass the consideration of allegations to the Investigating Officer of another course.

Types of Misconduct
Determination of minor and major cases of misconduct The Investigating Officer should bear in mind the following when defining misconduct as either major or minor: (a) The assessment impact is not a relevant issue. For example, cheating will not be condoned just because the work in question is not heavily weighted in terms of the overall mark for the unit, or the module itself is not a significantly weighted module within the course. Level of study is not germane to the decision; (b) The extent of the misconduct is a key factor: a piece of work, which has been downloaded verbatim from the internet will inevitably be regarded as a prima facie case of major misconduct whereas the lack of proper citation in one or two articles or where it is incorrectly formatted might be seen as a minor case of misconduct;

(c) Consideration of the extent of the pre-meditated intention involved in the misconduct. Where the evidence suggests the student has been sophisticated in their use of unattributed material, e.g. deliberate minor editing of plagiarised text to give the impression that it is their own work, what appears initially to be a quantitatively minor breach might instead be deemed major. Conversely, a large but single and un-edited example of non-attribution within an essay, which is otherwise properly referenced, might justify deeming an apparently major case as minor.

Minor misconduct
Minor misconduct is where a small proportion of a piece of assessed work is found to be plagiarised or has been subject to minor collusion (for example, where two students work together on producing a small section of an assessment or where minor examination room infringements occur). 155

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Minor misconduct may also be used where students are inexperienced and the misconduct relates mainly to the poor use of referencing protocols. Multiple instances of minor misconduct are likely to lead to a charge of major misconduct.

Major misconduct
Major misconduct is where a significant proportion of a piece of work is found to be plagiarised, where there is substantial collusion or fabrication of results or abuse of examination room protocols, where there is evidence of serial minor misconduct, or where personation has occurred. Misconduct is more likely to be considered major where the work contributes to the classification of an award, or where the student has experience of UK higher education. Students found guilty of submitting work which they describe as their own but, which has been produced on their behalf by another person, or found guilty of soliciting another person to undertake an assessment on their behalf (for example by commissioning someone to write an essay for them), or of undertaking to solicit or prepare an assessment on behalf of someone else shall be guilty of personation. Students guilty of personation are likely to receive a more severe penalty. Where the Investigating Officer is unable to decide whether a case is either major or minor misconduct they should refer the case to the Misconduct Panel.

No Case
If the Investigating Officer believes that the evidence presented does not constitute a prima facie case, they will return the material to the examiner with a request for more information. If this is not forthcoming, the Investigating Officer will not proceed with the case.

Procedures for determining allegations of misconduct

Where it is suspected that a student has committed misconduct in the preparation and/or presentation of their work, the examiner should take appropriate steps to identify all instances of misconduct in the assessment exercise and highlight these for easy reference. The course Leader will be responsible for ensuring that the Investigating Officer receives appropriate assistance in undertaking the initial determination in relation to reviewing the submitted assessment (which may be of particular relevance where the examiner who raised the concern is not a permanent member of faculty). If the suspected assessment is coursework undertaken, submitted, and returned during the course, the Module Leader should photocopy the exercise, retain the original, give the copy to the student with coversheet etc. and inform the student and the Assistant Principal HE and Quality that the work is being investigated for possible misconduct. Where the allegation is plagiarism, the examiner should mark the work taking the 156

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

plagiarism into account. If a piece of work is plagiarised, in whole or in part, the mark should be reduced in proportion to the extent of the plagiarism identified. Nonplagiarised sections should be marked as standard. Therefore, the final mark should reflect a combination of the extent of the plagiarised passages, and the quality of the non-plagiarised work; it may or may not be a fail mark. Where the allegation is another form of misconduct, the assessment should be given a mark which reflects the examiner's opinion of the work, as far as possible with the suspicion of misconduct set aside i.e. award a mark that reflects the quality of the work as it stands. The marked-up original should be sent to the Investigating Officer by the Module Leader, together with the course handbook and a summary of any study skills information given to students. The Investigating Officer may consult with course or module leaders, examiners, relevant subject examination board officers, invigilators (where allegations relate to unseen exams), and will determine whether or not a prima facie case for suspecting a student of misconduct has been presented. If a prima facie case has been presented, the Investigating Officer shall determine whether the alleged misconduct is either a minor or major case of misconduct. Once the Investigating Officer has made a determination that the case is either minor or major, BIMM will send a letter to the student to inform them that their work is under investigation, and what will happen next.

Procedure for a first case of plagiarism

Where plagiarism is identified in work submitted for assessment, and there is no previous incident of plagiarism logged on the student's record, the student will be referred to an Academic Practice tutorial. This will apply whether the case is determined to be minor or major. The evidence file will be forwarded to the Investigating Officer who will make the usual determination whether the case is minor or major. The Module Leader will be responsible for arranging to see the student to explain why the work is problematic, and will refer the student to an Academic Practice tutorial. The student should be seen within 10 working days of the case being identified. The Module Leader will tell the student the proportion of the work judged to be plagiarised, and that it has been marked on that basis. The student may accept the referral to the Academic Practice tutorial, or decline, or choose to challenge the allegation. Challenging the allegation of plagiarism would involve electing to go through the relevant standard procedure for minor or major cases (see below). The plagiarism incident will be recorded against the student's assessment record; attendance and satisfactory engagement at the Academic Practice tutorial will be recorded and will be checked if a second incident of plagiarism occurs. After seeing the student, the Module Leader will return the evidence file to the BIMM Office for retention. Where a second case of plagiarism related misconduct occurs, the full Academic

157

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Misconduct Procedure, as set out below will be applied. NB: Where the evidence file alone is not sufficient for the Investigating Officer to be able to define the suspected misconduct precisely (e.g. where a case might be plagiarism or personation; or plagiarism or collusion) the Investigating Officer may refer the case directly to the Academic Misconduct Panel for a fuller investigation into the facts.

Procedure for minor misconduct (other than a first case of plagiarism)

For minor misconduct, the Investigating Officer shall send the details to the Secretary of the Misconduct Panel who will then send the case to the Assistant Principal HE and Quality for consideration and determination. The Assistant Principal HE and Quality may nominate another member of academic faculty to undertake the task of dealing with all minor misconduct cases. The Assistant Principal HE and Quality (or nominee) will consider the case presented and interview the student about the allegation. The Assistant Principal HE and Quality may dismiss the case or may apply a penalty as set out below. The application of penalties, which would result in, the overall failure of the course are reserved for major breaches and must be administered by Panels. If a Assistant Principal HE and Quality (or nominee) feels minded to apply such a penalty, they must refer the case to the Misconduct Panel. The way that the range of penalties open to the Assistant Principal (or nominee) relate to those available to Panels is outlined above. The student may also be directed to undertake some form of remedial academic skills coaching. The Secretary to the Misconduct Panel will formally inform the student of the outcome, and record the penalty on the marks database. A formal record will file. The evidence file from the case will be returned to the Panel Secretary for archiving. Where the case is not proven, the Assistant Principal HE and Quality (or nominee) will dismiss original copy of the suspected exercise will be returned to the student.

158

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Procedure for major misconduct (other than a first case of plagiarism)

For major misconduct, the Investigating Officer shall send the details to the Secretary of the Misconduct Panel who will inform the Chair of the subject examination board. A provisional mark will have been entered on the array. The Secretary of the Misconduct Panel will organise a misconduct hearing, which will comprise a Chair and two members of staff from the membership of the Board of studies. The Module Leader will normally act as Presenter at the hearing. In cases where the Module Leader cannot be the Presenter they will be asked to identify an appropriate substitute Presenter, which may be the original examiner or the Investigating Officer, or another appropriately briefed member of the Staff. The student shall be informed in writing by the Secretary of the date and purpose of the misconduct hearing, which will be at least 5 days (including weekends) from the date of the letter. The student will be provided with notice of the allegation made against them stated in broad terms and shall be directed to the relevant sections of this handbook. The student has a right to be accompanied at the hearing by a member of faculty. Students are entitled (but not required) to attend a hearing. The student shall notify the Secretary at least 48 hours in advance of the hearing whether they will attend the hearing and who will accompany them. If the student does not attend they may submit a written statement. The evidence file will be available at an appropriate place for inspection by the student and their representative prior to the hearing and copies of the evidence will be provided to the student on request. Hearings may proceed in the absence of the student. Panel members are required to familiarise themselves with the evidence before the panel in advance of the hearing the hearing must not depend entirely on the presentation of the case on the day of the Hearing. At the hearing, panel members will establish the facts and come to a conclusion as to whether or not misconduct has taken place.

159

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Conduct of the hearing

The hearing will be conducted as follows: (a) The Chair will explain to the student the procedure of the hearing. It will be made clear that the panel will seek, initially and as far as possible, misconduct has occurred or not, and will reach a decision on that point a legitimate factor in considering mitigation or aggravation; (b) The Chair will read out the accusation, including the relevant definitions of misconduct, and will then ask the student whether they admit or deny the accusation;

Admission of accusation
(c) If the student admits the accusation, the hearing will be concerned with assessing the gravity of the offence and considering any evidence in mitigation. The presenter will be invited to assess the extent of the misconduct. The student will be invited to respond with the help of their representative.

Denial of accusation
(d) If the student denies the accusation, the hearing will first be concerned to establish whether misconduct has taken place. The presenter will make the case against the student. The student will defend their case with the help of their representative. Members of the panel may intervene from time to time to raise a question; (e) Where the Chair of a misconduct panel considers it to be beneficial in resolving a case (either in advance of a hearing or during a hearing), the Chair may invite an academic from the relevant department (but not the person responsible for marking the work) or the external examiner or other person of independent status and of equivalent expertise to attend the misconduct hearing and to question the student on the academic content of the work under investigation. The purpose of the questioning will be to establish the students knowledge of the work in question, knowledge of the methods used to produce the work, and knowledge of the work in question, knowledge of the methods used to produce the work, and knowledge of the sources (cited or otherwise) informing the work. In the case of this requirement emerging during a hearing, the meeting will be adjourned and a new date established. (f) Once the Chair deems that all the relevant evidence has been heard, the chair will ask the presenter to withdraw, while the panel members reach a conclusion (by simple majority vote in the absence of unanimity). The Chair will then invite the student, their representative and the presenter to return to hear the panels conclusion and whether the student has been found been found guilty or not guilty;

160

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Not guilty
(g) If the student is found not guilty, the provisional mark awarded will stand and be used for progress and classification purposes. The student will be told, at the end of the hearing, the outcome and the Secretary to the hearing will so inform the student, in writing, within ten working days from the date of the hearing.

Guilty
(h) If the student is found guilty the panel will then hear evidence and once the student and presenter have left the room, the panel will agree an appropriate penalty. (i) The student will be told, at the end of the hearing, the penalty to be applied. The panel reserves the right to defer its decision for a short period but the student will be informed informally as soon as possible once a decision has reached. The Secretary to the hearing will formally inform the student, in writing, within ten working days from the date of the hearing of the penalty (if any) and will give the student a copy of the report sent to the subject examination board. (j) The decision of the panel will then be sent to the subject examination board for application and will not be open for revision.

Second offence
(k) If a student is found guilty of a second offence of misconduct, the hearing will, in determining the penalty for the subsequent offence, take into account any previous offence(s) and reserve the right to disqualify the student from the award of a degree.

161

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Penalties to be applied
1. The following penalties are available to the Assistant Principal HE and Quality or a Misconduct Panel: i) A caution, and referral to guidance on referencing (usually reserved for a first offence where improvements to referencing would be sufficient to avoid a charge). ii) Require student to correct the referencing in order to receive the mark for the assessment (usually reserved for a first offence, or where mitigation applies). iii) Require the student to repeat (i.e. resubmit) the assessment unit (or equivalent) in order to receive an uncapped mark. iv) Require the student to repeat (i.e. resubmit) the assessment unit (or equivalent) in order to receive a capped mark (the capping must be at the level required for the student to progress on their course). v) Reduce the mark for the assessment by n%, short of causing module failure. The requirement to repeat an assessment (iii and iv) is more likely to be the penalty where the mark contributes to classification or determination of an award. Note: a record of the minor misconduct decision and penalty will be held on the student record. 2. The following penalties, which may be applied singly or in combination, are available only to a formal Misconduct Panel: (Note: loss of credit under the following rules cannot be compensated via general credit mechanisms) i) Reduce the mark for the assessment unit to 0. Where this results in the loss of credit and consequently to failure to progress or to qualify for an award the student will be able to resit under normal examination board regulations.

ii) Reduce the mark for the module to 0. Where the resultant loss of credit leads to failure to progress or to qualify for an award the student will be able to resit the assessment under normal examination board regulations. iii) Require the student to repeat (i.e. resubmit) the assessment unit (or equivalent) to pass level in order to obtain credit, but record a mark of 0 for the assessment unit.

162

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

iv) Require the student to repeat (i.e. resubmit) the assessment unit (or equivalent) to pass level in order to obtain credit, but record a mark of 0 for the module as a whole. v) Reduction of grand mean for the course by up to 10% (value to be specified by the misconduct panel) [Note: this penalty is not available for first year undergraduates). vi) Reduce classification by one or more class [Note: this penalty is not available for first year undergraduates] The requirement to repeat the assessment is to ensure that the learning outcomes are met, which may be in doubt where a student is guilty of major misconduct. vii) Disqualify from honours [Note: this penalty is reserved for undergraduate final year students]. viii) Disqualify from award. (a) in the case of undergraduate finalists where no resit opportunity exists the reduction of a mark to 0 with no possibility of general credit being awarded will result in the student being precluded from receiving classified honours. Misconduct panels must therefore exercise caution in using options (i) and (ii). (b) in the case of students who are given penalties requiring a repeat of the assessment there may not be an opportunity to repeat until the next main cycle of assessment. Misconduct panels must therefore exercise caution in using options (iii) and (iv), particularly for those students who would otherwise be at the point of graduation (undergraduate and postgraduate) or who are registered as visiting students.

Examination Boards
Examination boards will not proceed to confirm progress or determine classification whilst an allegation of academic misconduct is outstanding in relation to a student.

Appeals
Students shall have the right of appeal against decisions concerning academic misconduct, on the following grounds: (a) That there is evidence of procedural irregularity, including administrative doubt as to whether the result might have been different had there not been such an irregularity; those who determined the penalty were not aware when they made their decision, and which could not reasonably have been presented to them; (b) That there exists evidence of prejudice or of bias on the part of those making the 163

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

decision. Operationally, the appeals will operate according to the procedures for all academic appeals.

164

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Annual Monitoring Procedures

Course and module approval All curriculum development is planned and agreed at HE Forum. New courses or modules are written by a course development team, which will include the Course Leader, Module Leaders, Assistant Principal Higher Education & Quality and external advisors. After changes have been formulated they are passed on for the approval of the Directors. After approval at BIMM new courses and curriculum changes are presented to the Collaborative Provision Committee at the University. Annual Monitoring Reports Module leaders produce annual reports, which feed into Course Leader - Annual Monitoring Reports (AMRs). Module Leaders reports are integral to the BIMM Quality Cycle, informing the annual monitoring reports prepared by the Course Leader and the Assistant Principal Higher Education & Quality. The HE Forum subsequently reviews these reports as does the University Collaborative Provision Committee and action plans derived from the reports are fed into strategic and operational planning cycles. Procedures for Evaluations by Students of Courses and Modules The BIMM annual Quality Cycle ensures that feedback from students and staff is included in annual monitoring. Student questionnaires are set for each module of HE provision on an annual basis and the module leaders collate this information and respond to it in their annual report. Students also give their feedback through student representation. Elected student representatives report 3 times a year to; HE Board of Studies, and attend HE Forum plus annual Focus Groups. Less formally, students give their feedback in tutorial sessions, in forums on Study Direct, through their course leaders and to the Head of Quality and Student Support (BIMM).

165

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Harassment & Bullying

Definitions of Harassment
Harassment is behaviour which is unacceptable to and diminishes the dignity of the recipient(s) and which creates an intimidating, hostile or offensive environment for that bullying, verbal or physical abuse. Harassment relating to another person's sex, sexual orientation, religion, race or disability is all included within this definition.

Definitions of Bullying
Bullying can be broadly defined as behaviour, which consistently undermines another's confidence, reducing feelings of self-esteem and self-worth. It is generally psychological, rarely though sometimes physical. Bullying is often intimidation by someone in a superior position, but can occur in any relationship.

Taking the Matter Up

If you suffer harassment, you can do one or more of the following: take it up with the person concerned, take informal advice, or make a formal complaint.

Taking it up with the person concerned:

If at all possible, make it clear that his/her behaviour is unacceptable. You can do this by word of mouth or in writing. If you write, keep a copy of your letter, bearing in mind that this letter can be used in evidence by the other person. Always keep detailed notes of any incidents that distress you, including information on the ways in which the incidents cause you to change the pattern of your work or social life. Keep a note of who witnessed the incidents. If you don't feel able to take it up with the person concerned, or if harassment continues, you can take further action.

Taking informal advice

You can take advice from various sources, including; the Head of Student Support, Course Leader, the Principal, and the Assistant Principal HE and Quality. These discussions are private and confidential, and you can bring a friend with you if you want. The people listed may be able to make informal approaches to the person concerned to ensure that harassment is not repeated. The decision whether to go further will depend on you. Even where you are complaining about conduct that is actually criminal, no proceedings can take place without your wish and evidence, and it is for you to choose whether or not to give that evidence. (Remember, though, that if you write to someone, it may be impossible to prevent that document being used in evidence.)

166

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Formal processes
You are strongly advised to take the informal route first, with the support of those suggested above. This may help you decide whether to make a formal complaint. Written formal complaints should be addressed to Head of Student Support and Quality who will deal with the matter from there.

Student Discipline
Students shall maintain a standard of conduct, which is not harmful to the work, good order or good name of the Institute. If a breach of discipline is reported, the Course Leader decides if the matter should be reported to Board of Studies. They determine what action, if any, should be taken against breaches of discipline. If the Board feels, on the basis of the report it has received, that there is a prima facie case to be answered and that the matter is of a serious nature, the Board will refer the case to the Principaland the Directors, who will hear the case against the student and decide on further action.

167

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Complaints and Appeals Procedures

COMPLAINTS PROCEDURE Level 1 Wherever possible complaints should be raised immediately with the member of staff responsible, or with a member of the Student Support team, with the aim of resolving the problem directly and informally: This will generally be an oral process and a written record will not be made. If you remain dissatisfied with the response to your complaint at Level 1 you should use Level 2 of the process. Level 2 Where it has not been possible to resolve matters at Level 1 you should write to the Assistant Principal Higher Education & Quality. In order for your complaint to be properly investigated it is essential that you are specific about the cause and nature of your complaint. You should present full details, including your name and term-time address and include all relevant documentation. You should detail what attempts you have already made to resolve the complaint, and state what outcome and remedy you are seeking. Formal (Level 2) complaints should be lodged within three months of the conclusion of the informal (Level 1) phase. Complaints received later than this will not normally be considered. You should expect to receive an acknowledgement of the receipt of your complaint within five working days. Type of complaint Academic complaints relate to issues that have a direct effect on the provision of teaching, learning, research and supervision. Non-academic complaints usually relate to issues connected with The Institutes services but also cover any inappropriate behaviour from BIMM staff, including allegations of behaviour, which is discriminatory or harassing. If the Assistant Principal Higher Education & Quality has already been involved at Level 1, The Principal will deal with the Level 2 stage. In some cases you may be contacted for further information or clarification and you have the right to request a meeting with the person investigating your complaint, to discuss the issues in person. You will be informed, in writing, of the outcome of your complaint. It is our aim to resolve most complaints at Level 2 within 28 days. You will be informed if, for any reason, there is likely to be any delay in the process. This letter is termed a Completion of Procedures letter.

168

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Awarding Body review If your complaint is of an academic nature and you are dissatisfied at the end of Level 2 when the BIMM complaints procedure has been exhausted the validating or awarding body will consider your complaint under their own complaints procedure provided you lodge a request for a review of the BIMM decision within one month of receiving the BIMM Completion of Procedures letter the awarding body will initially ascertain that all the correct procedures have been followed by BIMM and if, after considering the case against the criteria set, the awarding body decides to undertake further investigation, s/he will consult senior officers at BIMM as well as the relevant awarding body officers. As stated above, note that you would enter this process at Level 3. You will be informed of the result of the awarding body Level 3 investigation in writing. Should you still be dissatisfied, there is the option of an independent review by the Office of the Independent Adjudicator. Option for Independent Review The Office of the Independent Adjudicator (the OIA) provides an independent scheme for the review of student complaints or appeals. When UoS procedures investigating the complaint have been exhausted, the University of Sussex will issue a Completion of Procedures letter. Students wishing to avail themselves of the opportunity of an independent review by the OIA must submit their application to the OIA within three months of the issue of the Completion of Procedures letter. The OIA will not normally consider a complaint which, has not previously been considered under all the procedures available within UoS, and will not normally consider complaints where the Completion of Procedures Letter is issued more than three years after the substantive event(s) complained about. Further details about the OIA are available from the Office of the Independent Adjudicator at http://www.oiahe.org.uk/ or: OIA Third Floor Kings Reach 38 50 Kings Road READING RG1 3AA 0118 959 9813 Email: preferably use the online form. Alternatively use: enquiries@oiahe.org.uk For further advice about contacting the OIA please contact the Head of Quality and Student Support. Students seeking an independent review through the OIA should note that any complaint at that stage would be in respect of the awarding bodies procedures and not those of BIMM.

169

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

General Principles As a general principle BIMM expects that complaints will be dealt with informally in the first instance. Many complaints can be dealt with quickly and effectively in this manner without the need to follow formal procedures. This complaints procedure has been designed with this in mind. BIMM is committed to providing a high quality service to its students and you are encouraged to let us know when there is cause for concern or a need for improvement. However, BIMM will not accept complaints, which are frivolous (unfounded, trivial), or malicious (with vindictive motivation). You should be assured that no complainant will be disadvantaged by having raised a complaint. Privacy and confidentiality will be maintained in the handling of complaints except where disclosure is necessary to progress the complaint. It is the University's expectation that the confidentiality of any documentation generated by a complaint will be respected by all parties. If you are considering making a complaint you are strongly advised to talk to one of the following. They can advise you on how to deal with your complaint, help to resolve it informally and, if necessary, support you in the process of making a formal complaint. A Quality and Student Support Assistant at BIMM. An HE Course Leader. The Head of Quality and Student Support. The Assistant Principal Higher Education & Quality. One of your Student Representatives.

The following list indicates examples of the type of complaint covered by the procedure: Poor teaching or supervision. Misleading information in prospectuses or in advertising or promotional material. A failing in a BIMM service, academic or non-academic. Inadequate facilities. The behaviour of a member of BIMM staff.

The following are not covered by the procedure: A request for a review of a decision of an academic body (e.g. Examination Board) regarding student progression, assessment and award. This is defined as an Appeal and is dealt with under the separate Appeals Procedure. Complaint against another student. These are dealt with under the separate Student Disciplinary Procedures.

170

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

It is important to remember that complaints will not always produce the outcome preferred by the complainant. There may be a number of reasons for this, including lack of evidence to substantiate the complaint or the fact that circumstances beyond BIMMs control may affect the level of service provided. However, whatever the decision, you will be informed of the result of your complaint in writing and will be provided with the reasons for the outcome.

171

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM APPEALS PROCEDURE Purpose of the Appeals Procedure The appeals procedure is intended to provide a formal means for reviewing a decision made on student progression, assessment and awards, and resolving the student's concerns in a fair and consistent manner. This is different from the Student Complaints Procedure, which provides a means for resolving other problems that may arise during the academic year, relating to teaching provision or other services, for example. If you need advice about whether the matter you wish to raise is a complaint or an appeal, please consult either the Assistant Principal Higher Education & Quality or Head of Quality and Student Support. Principles of the Appeals Procedure Students lodging an appeal will not be disadvantaged by doing so. Privacy and confidentiality will be respected, and disclosure of information provided by a student in the course of an appeal will be restricted to those individual officers directly involved in consideration of that appeal, and that may include Chairs of Mitigating Evidence Committees and Examination Boards. The appeal will be considered in accordance with BIMMs Equality and Diversity Policy. There is no right of appeal against matters of academic judgement, however students do have the right to appeal against certain academic decisions such as: a. That there existed circumstances affecting the students performance of which the examiners were not aware when their decision was taken, and which could not reasonably have been presented to the examiners BIMM recognises that sometimes situations will arise that prevent you from submitting a piece of work on time, or that might affect the standard of work that you are able to submit. The usual procedure for dealing with such circumstances is to apply to the Mitigating Evidence Committee (MEC) as and when the situation arises. Students intending to lodge an appeal on these grounds should note that, for an appeal to succeed, you will need to show that all three criteria listed below are met: 1. Circumstances affecting the student's performance ... Evidence of these circumstances should be submitted, with a clear

172

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

explanation of the period of time, and particular pieces of assessed work that were affected. 2. of which the examiners were not aware when their decision was taken ... An appeal will not have strong grounds where the examiners were already aware of the circumstances described, and made their decision in the knowledge of those circumstances. 3. which could not reasonably have been presented to the examiners An appeal can usually only be considered where the student has been unable to follow the normal procedure for submitting evidence to the MEC and it would not be reasonable to have expected them to have done so. An example might be that the student was in hospital, or was suffering from mental health difficulties which meant that they were unable to prepare a submission to MEC at the appropriate time. It is not sufficient for the student to say that they were unaware of the procedure for making a submission to MEC, or had chosen not to do so. b. There was a procedural irregularity (including administrative error) or other inadequacy in the conduct of the examinations, or processing of marks or grades, or the categorisation of an award An appeal may be brought where the student believes that the award or mark is incorrect because BIMM has made an error. It is not enough to show that an error has taken place - it will be necessary for you to show that the error resulted in an incorrect decision being made. If the error is clearly demonstrable, it can often be corrected without the necessity to go through a formal appeal process, so students are advised to seek urgent advice from the Assistant Principal Higher Education & Quality or their Course Leader in the first instance. c. There exists evidence of prejudice or bias on the part of an examiner An appeal brought on these grounds should clearly identify the particular individual(s) considered to have shown prejudice or bias against you, and should be supported by evidence. Deadlines for appeal

173

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

An academic appeal must be lodged within 21 calendar days of the publication of the examiners decision. If you wish to appeal against the fact that you have been required to withdraw from a programme at BIMM, you will need to appeal within 7 working days. What decisions can students appeal against? Failure of the programme of study. The recommended category of award. A decision that the student is required to withdraw from the programme because s/he has failed to satisfy the requirements for academic progress within that programme. A decision that a student is required to submit one or more assessment units, having failed to satisfy the requirements for academic progress (this can include a decision that a student is required to repeat a year). A particular assessment result (this can include a penalty for late submission, or failure to submit a piece of work). A decision from BIMM that a student is deemed to have withdrawn.

There is also a right of appeal against the following decisions: Academic Misconduct Panel Decisions Appeals must be submitted, in writing, to the Head of Student Support within 21 calendar days of the decision having been sent in writing to the student's last known address. Mitigating Evidence Committee Appeals must be submitted, in writing, to the Assistant Principal Higher Education & Quality within 21 calendar days of the decision being notified to the student. Decision to refuse to allow an alternative mode of assessment Appeals must be submitted, in writing, to the Head of Student Support within 21 calendar days of the decision being notified to the student.

174

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

How the Appeal will be considered Receipt of your appeal will be acknowledged within 5 working days. Relevant information will then be gathered. This will include the Course Leaders or Assistant Principal Higher Education & Qualitys comments on the appeal, the student transcript, any Mitigating Evidence Committee records and Examination Board minutes. This process will normally take a minimum of two or three weeks and may take longer for particularly complex cases, or when someone who has critical information is unavailable. You may also be asked for clarification of statements in your appeal or for further evidence. Please bear in mind, however, that it is the students responsibility to ensure that you have provided full information and supporting evidence to substantiate your grounds for appeal. Students must ensure that BIMM can contact you quickly about an appeal, by keeping BIMM informed of any changes to contact details. Once this information has been gathered together, a decision will be taken as to whether the appeal is admissible. It may be, for example, that the grounds of appeal are that there were circumstances of which the examiners were unaware, but on investigation, it is evident that those circumstances had been considered by the Examination Board. Another example might be that the grounds for appeal are a procedural error, but there is no evidence that any error has taken place. If the appeal is considered to be inadmissible, a letter will be sent to the student, confirming that decision. Admissible appeals are then considered further to establish whether they can be decided without a hearing of an Appeals Panel. This will only be the case if it is clear that the appeal should be upheld (i.e. the decision should go in the students favour) because all parties consulted are in agreement. Students will be notified in writing if an appeal has been upheld. Where there is any doubt, the appeal will be decided at a hearing of an Appeals Panel. Appeals Panel Hearings If it has been decided that an appeal is admissible and is to be considered at a hearing, members of the central administration who are independent from the running of assessment operations, will first prepare a detailed report on the nature of the appeal, the evidence, and the outcomes available under your course regulations.

175

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

A date for the hearing will be set, and a letter confirming the date and time of the hearing will be sent to the student, with a copy by email, so that the student has a minimum of five days' notice of the hearing. A copy of the report and any other information that is being sent to members of the Appeals Panel will be sent to the student by post (or by airmail if the student is abroad). The Appeals Panel The composition of the Appeals Panel is as follows: A BIMM Director or BIMM Principal. Two academic members of staff who have not been involved in teaching the student.

A student usually one of the student representatives for the programme.

Before the Hearing Students should contact the person who wrote to them from BIMM immediately if: The student does not intend to be present at the hearing; The student wishes a friend to attend with them; and if so, whether the student wishes them to answer questions from the Panel on your behalf; The student has any special needs (e.g. due to a disability). If the student intends to be accompanied, please let BIMM know the name of that person at least one working day before the hearing. It is the students responsibility to ensure that their friend has copies of any papers, and is aware of the date, time and location of the hearing. We will not contact them on your behalf. If the student does not intend to attend the hearing, they may send in written comments in response to the papers that have been sent to them, if they wish. Such comments must be received at least two working days before the day of the hearing. If any of the information in the papers that have been sent to the student are unclear, the student should contact the writer of the letter inviting them to the hearing or the Head of Quality and Student Support. What Happens at the Hearing The Panel members will have read the appeal papers that have been sent to the student before the hearing. The procedure at the hearing is as follows: The student (and, if applicable, a friend) will be invited to join the Panel, who will introduce themselves. The student will be invited to make any statement, either to highlight particular points

176

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

made in their written appeal or to add further comments, in light of the documentation. The Panel members may ask you questions about the evidence or the circumstances of the students appeal; the students friend (if applicable) will be asked whether they wish to make any additional statement on the students behalf. The student (and, if applicable, their friend) will be asked to leave the room and to wait nearby, while the Panel considers the evidence and the discussion with them. The student will be invited to rejoin the Panel, so that they can give the student their decision.

Panels are expected to reach a decision on the day of the hearing. If, extraordinarily, this is not possible, the hearing may have to be adjourned while additional information is sought and copied to the Panel and to the student. The decision will subsequently be confirmed in writing within seven working days of the hearing; this outcome will be summarised in a Completion of Procedure letter. Awarding body procedures If an appeal is not upheld by BIMM and the student remains dissatisfied, they may invoke the awarding bodies appeal procedures. A student must write to the awarding body within 21 days of the notification of the outcome of the appeal at BIMM. There is no right of appeal against the academic judgement of examiners. The awarding body will ascertain if the correct process was observed. Once the process is finalised, the awarding body will issue a Completion of Procedure letter. Final Redress Where the student is not satisfied with the outcome of the procedure, s/he may request a review by the Office of the Independent Adjudicator (OIA). The OIA provides an independent scheme to enable the review of unresolved student complaints, including appeals. The student must submit an appeal to the OIA within three months of receiving the notification of the decision of the awarding body. An appeal to the OIA is made by completing a Scheme application form. Copies of this form are available from: The Head of Student Support

177

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Alternatively the form can be downloaded from the OIA website or requested by telephone or letter: www.oiahe.org.uk OIA Third Floor Kings Reach 38 50 Kings Road READING RG1 3AA 0118 959 9813 Email: preferably use the online form. Alternatively use: enquiries@oiahe.org.uk

178

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Equal Opportunities and Diversity Policy

Mission Statement
BIMM will Partner Individuals, Communities and Businesses to Achieve Outstanding Education and Training Successes.

Our Purpose
Our aim is to ensure every student has the chance to fulfil his or her potential

Equal Opportunities Policy Statement

BIMM is committed to the active promotion of Equal Opportunities and positive regard for all learners. Everyone within BIMM will be expected to work to these principles and promote its philosophy.

Who it applies to:

This policy covers all colleagues and all learners, i.e. in-college, in-company, on-line, on-stage and applies to all stages of the learning process i.e. pre-entry, on course and at exit.

General Principles
BIMM will, within the resources available: Strive to build a learning environment in which the individual needs of each learner are identified and accommodated by an appropriate college response. Create opportunities for learning for all those who seek it, and will aim to provide excellence in education and training for all its learners and will enhance their individual potential focusing on the highest possible levels of student achievement and progression. Help create an environment which provides equality of opportunity and freedom from discrimination, harassment and bullying on the grounds of race, gender, class, sexual orientation, marital status, age, religion and belief, culture, mental health, learning difficulty, disability, ex-offending and any other factors. Promote the diversity of our learners through our quality review, monitoring, tutorial and counselling procedures. Foster mutual respect and understanding between all members of the BIMM community. Uphold all the requirements in Equal Opportunities law and will ensure that directors, staff and students are kept informed of national and local developments. Identify good practice and promote positive role models.

179

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Produces codes of practice and procedures that will establish standards which are acceptable by:

Encouraging diversity and innovation Embedding beliefs into other value driven initiatives Training staff to understand the characteristics of all groups Encouraging learners to fulfil individual potential. Review procedures and codes of practice on an annual basis.

Responsibilities
It is everybodys responsibility to uphold the Equal Opportunities Policy. Overall responsibility for this policy lies with the Directors and Principal. Within this, specific responsibilities are as follows:

Managers across BIMM will:

Ensure practices are consistent with this policy. Promote staff awareness of the principles involved.

Staff within BIMM will:

Foster mutual respect and understanding between all members of the college community. Ensure that measures are applied to develop equality of opportunity in accordance with the Equal Opportunities Policy and Code of Working Practice.

All learners will:

Foster mutual respect and understanding between all members of the BIMM community.

Positive Action
BIMM is committed to positive action as distinct to positive discrimination to enable all individuals to develop their full potential and to overcome the effects of discrimination.

Redress
All learners who consider that they have been discriminated against should contact, in the first instance, the Head of Student Support Angelique Smith, or the Principal. All BIMM users will uphold the principles of the Equal Opportunities Policy.

180

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BIMM will challenge all discrimination and will not hesitate to invoke its disciplinary procedures.

Code of Practice
All Learners will respect Equal Opportunities and help to create an environment free from discrimination and prejudice.

We expect all learners to:

Help create an environment which provides equality of opportunity and freedom from discrimination and harassment on the grounds of race, gender, class, sexual orientation, marital status, age, religion and belief, culture, mental health, learning difficulty, disability, ex-offending and any other factors. Treat all members of the BIMM community with respect and understanding. Be considerate of the rights and diversities of other BIMM users, e.g. learners, staff, visitors, etc. Bring to the BIMMs attention any issues relating to discrimination, prejudice, harassment and bullying. BIMM also operates within the full remit of the Equal Opportunities policy of the University of Sussex. This may be consulted in the online student handbook at: www.sussex.ac.uk/studenthandbook/regulationsandpolicy.php

181

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Data Protection
Why we need to hold personal data?
BIMM processes students personal data as part of the necessary functioning of the institution. Personal data is information that can be used to identify you as an individual and which you provide by completing your application and enrolment form as well as necessary information which we process while you are a student, such as your assessment results, etc. All personal information provided by or about you will be treated strictly in terms of the Data Protection Act 1998. This means that confidentiality will be respected and that measures will be taken to prevent unauthorised disclosure. We also ask you for a photograph for enrolment. Your photograph will be stored electronically and may be seen by BIMM staff. We never release your enrolment photograph to another student, or outside BIMM. You may also appear on CCTV records, which the BIMM keeps for security purposes.

Disclosure of data
BIMM may provide limited data to Council Tax Offices of local authorities to enable them to assess whether you are liable for Council Tax. We shall report on your attendance and performance to your local education authority or the Student Loan Company on request, if you have been assessed for eligibility for support. In certain circumstances, BIMM may be required to disclose personal data by the police or courts for the purposes of the prevention or detection of crime, or where it is necessary to protect your vital interests, in an extreme emergency. We do ask you to provide on your enrolment form the name, address and telephone number of someone who we can contact in an emergency. BIMM archives student records for a limited number of years after graduation in order to be able to confirm requests from prospective employers etc. We may provide references or confirm marks to potential employers on receipt of an official written request from them. It is assumed that by citing BIMM on an employment/further study application you are giving us permission to release relevant personal data. Reports may also be provided to a sponsoring body, sponsoring employer or LEA, provided that the receipt of information on your progress forms part of the conditions of your sponsorship. At the end of your studies, limited personal data will be retained for our Alumni records in order that we can maintain contact with you. It is normal practice to produce official results lists, showing the results of all students on a programme. A copy of the list is given to each student on the programme and may be placed on appropriate Departmental notice boards. If you feel that the

182

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

publication of your results in this way will cause you significant damage and/or distress, you may ask for your details not to be shown on the list. Such a request must be made in writing to your Course Leader. This list is not intended to be exhaustive but to give you an idea of the various kinds of processing of information, which BIMM may need to undertake. We will not normally release data about you to your parents, partner or other relative or external enquirer under any other circumstances, without having received your specific written consent.

Access to data
The Data Protection Act gives you certain rights of access to your personal data records held by the University. Almost all of the data held is printed out on your enrolment form for you to check every year and your confirmed assessment results will be forwarded to you on a transcript after they have been agreed by the Award Assessment Board. If you do want additionally to be notified of all the information the University holds about you, you should write to the Office Manager.

Accuracy
It is a requirement of the Act that information processed about individuals is accurate. It is essential therefore that you keep the Office Manager, Reception staff or the HE Administrator, informed if you change personal details such as your address, or name. We will need to write to you several times during your time as a student, for example to give you your assessment results and to tell you about Awards Ceremonies.

Sensitive Data
Some personal data is defined as sensitive under the 1998 Data Protection Act, including the following: Race or ethnic origin Physical or mental health The commission or alleged commission of an offence, and any proceedings arising there from Your explicit consent is normally required to process this data (although there are circumstances where that consent is not required such as where data is used solely for monitoring equality of opportunity, where data is used by health professionals, or in an emergency). In signing your enrolment form you are giving us consent to process. If you have any questions, or wish to withhold your consent to our processing sensitive data, please contact the Office Manager. You can be advised of the circumstances under which we are required to process sensitive data, although the following paragraphs set out in some detail how we do use that data.

183

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Ethnic origin
We ask you to tell us your ethnic origin. BIMM will use this data only for the purposes of monitoring equality of opportunity.

Health and disability

We ask you to tell us if you are disabled and also if you are in receipt of a disability allowance. Within BIMM data about disability will be used for the purposes of monitoring equality of opportunity. It will also be used as an essential part of the provision of a service to students with disabilities. If you declare a disability, The Head of Quality and Student Support may contact you to see if BIMM can provide any further help for you. There may be circumstances when we have to release information in an extreme emergency, for example if you were taken ill and health professionals outside BIMM need to know about a disability. The Data Protection Act recognises that it is not always possible to seek your consent to the release of sensitive data in an emergency. You may also disclose information about your health when you complete a Mitigating Circumstances form.

Commission of an offence
Any person with a criminal conviction will have been asked to declare that on their UCAS or BIMM application form. Information about a criminal conviction is used as part of the admission procedure alone.

184

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA Assessment Regulations
BA (Hons) in Professional Musicianship (three year full-time course)
1. Definitions Award 1.1 Stage 1.2

Successful candidates will be awarded the BA (Hons) in Professional Musicianship. This is a classified award.

A stage is defined as the period of an award between two progression points. For this course stage 1 equates with Year 1(level 1) of the three year BA, stage 2 equates with Year 2 (level 2) of the three year BA and stage 3 with Year 3 (level 3) of the three year BA. Note: for the purposes of these regulations level and stage are synonymous as all modules taught in stage one are at level one (FHEQ level four), and equally for stage two (FHEQ level five), and stage three (FHEQ level six). Therefore the term stage is used throughout this document. Progression 1.3 The course is defined in three stages. Every module contributing to the course is credit-rated by volume and level. Progression from stage 1 to the next stage is achieved by acquiring a defined volume of credit and by meeting any course specific requirements. Modules 1.4 There are two types of modules: (i) Optional (or elective) one of a group of modules that may be selected. (ii) Mandatory for programme a module that contains programme- specific learning outcomes not secured elsewhere in the programme. Such a module must be passed to achieve the overall award. NB The examination board may award general credit for an optional module but may not award general credit for a mandatory module. Credit Pass mark and credit 1.5 The academic credit for a module is achieved by securing the minimum published pass mark for that module (i.e. 40%). Conflated marks and credit 1.6A module with multiple modes of assessment will have a conflated mark. If the conflated mark is >39.00%, the examination board is empowered to approve the award of the academic credit. However, the actual achieved conflated mark shall be used for the calculation of the final award.

185

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

2.

Assessment Cycle, Resits and Repeats The assessment cycle 2.1 An assessment cycle for a module comprises one sit and (where necessary) one resit. 2.2 A repeat assessment cycle for a module comprises one further sit and (where necessary) one further resit. Repeat assessment cycles are possible only on the explicit authority of the examination board. Resits 2.3 A resit is an opportunity for a student to retrieve an initial fail without repeating the module. 2.4A resit will normally be taken before progression to the next stage. 2.5A resit cannot be taken in order to raise a module mark where the pass mark has been achieved at the sit. 2.6For classification purposes the mark for a resit in stages 1 and 2 will be capped at the minimum pass mark. The actual mark achieved will appear on the diploma supplement/transcript. Where the mark at resit is lower than the mark achieved at sit, the highest mark achieved will be shown on the diploma supplement/transcript and will be used for progression and classification. 2.7Resits offered in stage 3 will be for credit only i.e. the original sit mark will contribute to classification. The actual sit mark achieved will appear on the diploma supplement/transcript.

Repeats 2.8 A repeat is an opportunity to retake the complete cycle of assessment (sit and resit). It will entail repeating the learning as well as the assessment. The offer of an opportunity to repeat is at the discretion of the examination board. The mark for a module/s repeated in stage 1 or stage 2 will not be capped at the minimum pass mark. This means that the full mark for the repeated module will be recorded on the diploma supplement/transcript and will be carried-forward for progression and classification purposes. A resit undertaken in the repeat-cycle will be capped as in the first cycle. Repeat modules offered in stage 3 will be for credit only i.e. the original sit mark achieved will contribute to classification. The actual sit mark will appear on the diploma supplement/transcript.

2.9 2.10

2.11

186

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

3.

Compensation and general credit Compensation 3.1 Compensation is a mechanism whereby, at the discretion of the examination board, a student may be awarded general credit, in lieu of academic credit for a failed module. 3.2 General credit counts towards overall progression and award credit requirements. Up to 20 credits may be awarded as general credit, except in the final stage. 3.3 Compensation cannot be applied where the failure of a module will result in a course-specific learning outcome not being achieved. 3.4 There is no right to compensation. General credit 3.5 The award of general credit is determined as follows: (a) The examination board may, at its discretion and after having reviewed a students overall performance in a failed module (except in the final stage) award general credit subject to a minimum mean mark for the stage of 40%. (b) When reviewing a students performance in order to award general credit, the examination board will take account of all relevant information, including: o the students overall performance for the stage; o the students overall mean mark for the stage (the mean mark for the stage must be 40%); o the achievement of required learning outcomes for the course. General credit will be recorded separately on a students diploma supplement/transcript, with no academic credit shown for the failed module. The achieved fail mark(s) will be carried-forward for classification. Progression rules General rules for modules 4.1 The following general rules apply: (a) the credits achieved on all modules contribute to the credit requirement for the award; (b) Modules contribute to the final award in proportion with their credit value within the designated stage (for example a 20 credit module in a 120 credit stage contributes 16.66% of the weighted mean for that stage); (c) the conflated mark for a module will be calculated to two decimal points; (d) conflated marks must not be rounded to integers; 4.2 The following are the progression rules for the course: General progression requirement (a) a minimum of 100 credits (after having exercised any opportunities to resit) is required to progress from stage 1 to stage 2 and from stage 2 to stage 3, subject to also achieving a pass in any module designated as mandatory. Up to 20 general credits may be included in the total. Failure of a module designated as mandatory (b) Where a student has met the general progression requirement (c)

187

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

but fails a module(s) designated as mandatory, the student will be offered a resit and required to pass the module(s) before being allowed to progress to the next stage. Should the student fail the resit, the examination board may offer the student the opportunity to repeat the module(s). Repeat of a stage (c) Students who fail to progress having taken advantage of resit opportunities may be offered the chance to repeat stage 1 or stage 2, or stage 3 for credit only. 5. Classification rules General award rules for modules 5.1 The following general rules apply: (a) all modules taken at stages 2 and 3 contribute to classification; (b) Stage 2 and stage 3 are weighted against each other in the proportion 40:60; (c) modules contribute to the final award in proportion with their credit value within the designated stage (for example a 20 credit module in a 120 credit stage contributes 16.66% of the weighted mean for that stage); (d) the conflated mark for a module will be calculated to two decimal points; (e) conflated marks must not be rounded to integers; General rule for the course Credit requirement 5.2 In order to obtain an honours degree, a minimum of 120 academic credits at stage 3 must be achieved. 5.3 In final marks arrays, the Grand Mean shall be calculated and shown to three decimal places. The Grand Mean will also be shown rounded (up or down) to the nearest 0.5%. If the effect of the rounding results in the Grand Mean of a marginal student being increased above a classification boundary, the subject examination board will have discretion to recommend the reclassification of the student. Classification divisions 5.4 Once the Grand Mean has been calculated, the class of the degree depends on where the Grand Mean falls within the following numerical boundaries. (NB the application of the classification boundaries can only be applied where the credit requirements have been achieved, i.e. classification is a two stage process in that firstly the credits must be achieved to obtain the award and then the classification rules are applied). 1st 70% 2.1 60% 2.2 50% 3rd < 40% Borderlines 5.5 The use of a weighted mean to calculate the grand mean may result in some students coming close to, but below, the class boundaries. The examination board should consider those students falling within a borderline area just below each classification point. The examination

188

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

5.6

board will seek to identify borderline students in advance of the formal classification meeting in order to enable external examiners to scrutinize scripts and to provide further guidance to the board on the treatment of students falling within the borderline zone. In considering borderline students, the following rules will apply: (a) all students falling below a borderline by up to 2% (e.g. 58.001 to 59.999 for the 2.2/2.1 boundary) will automatically receive the consideration of the examination board with the purpose of determining whether their class should be raised on the basis of the students overall performance on the degree course; (b) in considering whether to raise a student to the higher class, the examination board may consider the following points: (i) the class achieved by considering stage 3 alone; (ii) the proportion of credit for which the higher class has been obtained (in relation to which the examination board may take account of the general profile of those students who have been awarded the higher class); (iii) the proximity to the borderline (i.e. a student scoring 69.9 is more likely to be raised a class than one scoring 68.0); (iv) performance in the double weighted project; (v) any combination of the above; (vi) mitigating circumstances; (vii) other such matters relating to the students performance as may be considered appropriate. (c) no student shall be raised a class where they have achieved no marks in the higher class being considered (for example, this means that a student scoring 69% in every module would not be raised to first class); (d) For each student considered a clear minute will be maintained by the examination board secretary. Module failure in stage 3 (final stage) (a) Students are required to achieve 120 academic credits at stage 3 in order to achieve honours. (b) Where a student fails a module in stage 3 a resit opportunity for credit only will be offered. (c) Where a student fails the resit in stage 3 a repeat cycle (sit and resit) for credit only will be offered, at the discretion of the examination board. The Board will take account of the likelihood of future success when considering whether to grant a repeat and will use evidence of prior performance and student engagement when reaching a decision whether or not to grant a repeat. (d) The classification of the degree will be based on the original first attempt stage 3 marks and cannot subsequently rise or fall as a result of taking resits or repeats. (e) Note: in the case of a sit being offered against stage 3 module failure where there is accepted mitigation, the mark achieved at sit will contribute to classification. Ordinary degree Where a student has exhausted resit and discretionary repeat

5.7

5.8

189

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

opportunities at stage 3 and has acquired at least 60 stage 3 academic credits (but fewer than 120 stage 3 academic credits) the examination board will award an Ordinary degree. 6. Intermission 6.1 Students who wish to intermit between stages 1 and 2 or stages 2 and 3 will be required to have fulfilled the progression requirements before intermission. 6.2 Any student who has intermitted will be classified in accordance with the weighting scheme and assessment criteria which relate to the year/stage in which the student is finally assessed and classified (and not the scheme in operation when the student initially registered).

190

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

BA (Hons) in Professional Musicianship (one year full-time course)

1. Definitions Award 1.1 Successful candidates will be awarded the BA (Hons) in Professional Musicianship. This is a classified award, which can be taken following completion of the Foundation in Professional Musicianship. Stage 1.2A stage is defined as the period of an award between two points; in the case of this one-year award, between entry and award. This one-year course is at stage 3 (FHEQ level 6). Note: for the purposes of these regulations level and stage are synonymous as all modules taught in stage one are at level one (FHEQ level four), and equally for stages two (FHEQ level 5) and three (FHEQ level 6). Therefore the term stage is used throughout this document. Modules 1.3 There are two types of modules: (i) Optional (or elective) one of a group of modules that may be selected. (ii) Mandatory for programme a module that contains programme- specific learning outcomes not secured elsewhere in the programme. Such a module must be passed to achieve the overall award. Credit Pass mark and credit 1.4 The academic credit for a module is achieved by securing the minimum published pass mark for that module (i.e. 40%). Conflated marks and credit 1.5 A module with multiple modes of assessment will have a conflated mark. If the conflated mark is >39.00%, the examination board is empowered to approve the award of the academic credit. However, the actual achieved conflated mark shall be used for the calculation of the final award. 2. Assessment Cycle The assessment cycle 2.1 2.2 An assessment cycle for a module comprises one sit and (where necessary) one resit, for credit only. A repeat assessment cycle for a module comprises one further sit and (where necessary) one further resit. Repeat assessment cycles are for credit only and are possible only on the explicit authority of the examination board.

191

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

Resits 2.3

A resit is an opportunity for a student to retrieve an initial fail without repeating the module. 2.4Resits offered in this stage are for credit only i.e. the original sit mark will contribute to the award. The actual sit mark achieved will appear on the diploma supplement/transcript. Repeats 2.5 A repeat is an opportunity to retake the complete cycle of assessment (sit and resit). It will entail repeating the learning as well as the assessment. The offer of an opportunity to repeat is at the discretion of the examination board. Repeat modules offered in stage 3 are for credit only i.e. the original sit mark achieved will contribute to classification. The actual sit mark will appear on the diploma supplement/transcript.

2.6

3.

Classification rules General award rules for modules 3.1 The following general rules apply: (a) all modules contribute to classification; (b) modules contribute to the final award in proportion with their credit value within the designated stage (for example a 20 credit module in a 120 credit stage contributes 16.66% of the weighted mean for that stage); (c) the conflated mark for a module will be calculated to two decimal points; (d) conflated marks must not be rounded to integers; General rules for the course Credit requirement 3.2 In order to obtain an honours degree, a minimum of 120 academic credits at stage 3 must be achieved. 3.3 In the final marks arrays, the Grand Mean shall be calculated and shown to three decimal places. The Grand Mean will also be shown rounded (up or down) to the nearest 0.5%. If the effect of the rounding results in the Grand Mean of a marginal student being increased above a classification boundary, the examination board will have discretion to recommend the reclassification of the student. Classification divisions 3.4 Once the Grand Mean has been calculated, the class of the degree depends on where the Grand Mean falls within the following numerical boundaries. (NB the application of the classification boundaries can only be applied where the credit requirements have been achieved, i.e. classification is a two stage process in that firstly the credits must be achieved to obtain the award and then the classification rules are applied). 1st 70% 2.1 60% 2.2 50% 3rd < 40% Borderlines

192

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

3.5

3.6

The use of a weighted mean to calculate the grand mean may result in some students coming close to, but below, the class boundaries. The examination board should consider those students falling within a borderline area just below each classification point. The examination board will seek to identify borderline students in advance of the formal classification meeting in order to enable external examiners to scrutinize scripts and to provide further guidance to the board on the treatment of students falling within the borderline zone. In considering borderline students, the following rules will apply: (a) all students falling below a borderline by up to 2% (e.g. 58.001 to 59.999 for the 2.2/2.1 boundary) will automatically receive the consideration of the examination board with the purpose of determining whether their class should be raised on the basis of the students overall performance on the degree course; (b) in considering whether to raise a student to the higher class, the examination board may consider the following points: (i) the class achieved by considering stage 3 alone; (ii) the proportion of credit for which the higher class has been obtained (in relation to which the examination board may take account of the general profile of those students who have been awarded the higher class); (ii) the proximity to the borderline (i.e. a student scoring 69.9 is more likely to be raised a class than one scoring 68.0); (iii) performance in the double weighted project; (iv) any combination of the above; (v) mitigating circumstances; (vi) other such matters relating to the students performance as may be considered appropriate. (c) no student shall be raised a class where they have achieved no marks in the higher class being considered (for example, this means that a student scoring 69% in every module would not be raised to first class); (a) For each student considered a clear minute will be maintained by the examination board secretary.

3.7

Module failure in one-year programme (a) Students are required to achieve 120 academic credits in order to achieve honours. (b) Where a student fails a module a resit opportunity for credit only will be offered. (c) Where a student fails the resit a repeat cycle (sit and resit) for credit only will be provided, at the discretion of the examination board. The Board will take account of the likelihood of future success when considering whether to grant a repeat and will use evidence of prior performance and student engagement when reaching a decision whether or not to grant a repeat. (d) The classification of the degree will be based on the original first attempt marks and cannot subsequently rise or fall as a result of taking resits or repeats. (e) Note: in the case of a sit being offered against module failure

193

BA in Professional Musicianship Year 3 - Course Handbook BIMM 2012

where there is accepted mitigation, the mark achieved at sit will contribute to classification. Ordinary degree 3.8 Where a student has exhausted resit and discretionary repeat opportunities and has acquired at least 60 academic credits (but fewer than 120 academic credits) the examination board will award an Ordinary degree.

194