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Module Descriptors

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Session: 2022/23

Last modified: 18/08/2022 09:40:19

Title of Module: DIY Music

Code: MUSC09017 SCQF Level: 9
(Scottish Credit and Qualifications Framework)		 Credit Points: 20 ECTS: 10
(European Credit Transfer Scheme)
School:School of Business & Creative Industries
Module Co-ordinator:Rebecca  Wallace

Summary of Module

DIY Music introduces students to the key issues that impact on the DIY music environment. Once regarded as an alternative means of producing and disseminating music, DIY music now represents the mainstream, whereby aspiring artists utilise digital technology and interact with social networks to achieve and maintain a balance between their online and offline presence, all from a grass-roots level. 

In this instance, the module seeks to provide students with a deeper understanding of the main foundations of the DIY music approach towards creative enterprise, social network interaction, new media platforms, networking within digital environments, funding models, digital copyright, legal requirements, music branding, live and virtual live environments, industry and gender networks, etc., both from a practical and academic perspective. 

As such, the module will feature case studies on local enterprises, initiatives, networks, platforms, and labels, which embrace and encapsulate the DIY Music ethos, along with global platforms such as Bandcamp and Soundcloud. 

All of these aspects are underpinned by engagement with relevant theoretical and conceptual literature, which ultimately provide a basis for deeper analysis. Located within the Popular Music Studies research field, the module will encompass scholarly research which has been conducted on DIY music, music-related entrepreneurialism, music scenes, gender networks, the creative industries, creative labour, music networks, social media, live music, digital copyright, record contracts, radio, crowdfunding, portfolio careers, and statutory bodies such as the Musicians Union, and PRS For Music, etc.

  • DIY aesthetics, Creative Industries Funding / Crowdfunding

  • Live Music, Digital Marketing, Radio Promotion, Digital Media

  • Networking, Self- Management, Distribution, Events

  • Convergence Culture, Web 3.0, Platformization

  • To better understand the theoretical landscape of DIY music culture


Module Delivery Method
Face-To-FaceBlendedFully OnlineHybridCHybridOWork-based Learning
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Face-To-Face
Term used to describe the traditional classroom environment where the students and the lecturer meet synchronously in the same room for the whole provision.

Blended
A mode of delivery of a module or a programme that involves online and face-to-face delivery of learning, teaching and assessment activities, student support and feedback. A programme may be considered “blended” if it includes a combination of face-to-face, online and blended modules. If an online programme has any compulsory face-to-face and campus elements it must be described as blended with clearly articulated delivery information to manage student expectations

Fully Online
Instruction that is solely delivered by web-based or internet-based technologies. This term is used to describe the previously used terms distance learning and e learning.

HybridC
Online with mandatory face-to-face learning on Campus

HybridO
Online with optional face-to-face learning on Campus

Work-based Learning
Learning activities where the main location for the learning experience is in the workplace.


Campus(es) for Module Delivery
The module will normally be offered on the following campuses / or by Distance/Online Learning: (Provided viable student numbers permit)
Paisley:Ayr:Dumfries:Lanarkshire:London:Distance/Online Learning:Other:

 

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Term(s) for Module Delivery
(Provided viable student numbers permit).
Term 1check markTerm 2

 

Term 3

 

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Learning Outcomes: (maximum of 5 statements)

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

L1. To demonstrate an understanding of the contextual dimensions and contemporary developments in DIY Music industry, legal, and business practice

L2. To explain the relationship between DIY Music entrepreneurs, practitioners and practices and audience, markets, rights, and new platforms of distribution

Employability Skills and Personal Development Planning (PDP) Skills
SCQF Headings During completion of this module, there will be an opportunity to achieve core skills in:
Knowledge and Understanding (K and U) SCQF Level 9.

Understand the contextual dimensions and contemporary developments in media industry legal and business practice

Knowledge of one or more specialisms that is informed by media legal and business practice

Understand the media entrepreneurs relationship with audience, markets, rights and new platforms of distribution

Practice: Applied Knowledge and Understanding SCQF Level 9.

Generate ideas, concepts, proposals and solutions while employing techniques and methods appropriate to the application of legal and business skills within a media practice context

Generic Cognitive skills SCQF Level 9.

Analyse information and formulate reasoned approaches to the application of legal and business analysis through reflection, review and evaluation

Draw on a range of sources to make informed judgements on issues of contemporary media law and business practice

Use a few specialised or advanced skills in critical application of knowledge of legal and media entrepreneurial issues

Communication, ICT and Numeracy Skills SCQF Level 9.

Articulate ideas and information comprehensibly in visual, oral and written forms.

Autonomy, Accountability and Working with others SCQF Level 9.

Study independently, setting and keeping to goals and deadlines, managing their own workload

Generate ideas, concepts, proposals and solutions while employing techniques and methods appropriate to the critical application of legal and entrepreneurial knowledge

Pre-requisites: Before undertaking this module the student should have undertaken the following:
Module Code:
Module Title:
Other:
Co-requisitesModule Code:
Module Title:

* Indicates that module descriptor is not published.

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Learning and Teaching
Each scheduled week of class the delivery will take the form of an asynchronous ‘concept’ lecture which includes lecture material on theory and practice, alongside a ‘live’ synchronous topic-specific case study/Q&A. Both elements will offer students opportunities to work individually and in groups to apply learning to practice. As part of this process each week additional reading and a short exercise will be identified on Aula to support students to deepen understanding of the topics covered.
Learning Activities
During completion of this module, the learning activities undertaken to achieve the module learning outcomes are stated below: 		Student Learning Hours
(Normally totalling 200 hours):
(Note: Learning hours include both contact hours and hours spent on other learning activities)
Lecture/Core Content Delivery36
Tutorial/Synchronous Support Activity84
Independent Study80
200 Hours Total

**Indicative Resources: (eg. Core text, journals, internet access)

The following materials form essential underpinning for the module content and ultimately for the learning outcomes:

Arditi, D. (2020) Getting Signed: Record Contracts, Musicians, and Power in Society. London: Palgrave Macmillan.

Baym, N.K. (2018) Playing to the crowd: Musicians, audiences, and the intimate work of connection. New York: NYU Press.

Harrison, A. (2017) Music: The Business (7th Edition). London: Virgin Books


Herstand, A. (2016) How to Make it in the New Music Business: Practical Tips on Building a Loyal Following and Making a Living as a Musician. New York: Liveright Publishing.

Jones, E. (2020) DIY Music and the Politics of Social Media. London: Bloomsbury


Jones, R. and Heyman, L. (2021) Sound Advice: The Ultimate Guide to a Healthy and Successful Career in Music. London: Shoreditch Press.

Kanai, A. (2018) Gender and relatability in digital culture: Managing affect, intimacy and value. London: Springer

Klein, B. (2020) Selling Out: Culture, Commerce and Popular Music. London: Bloomsbury

Meier, L.M. (2017) Popular music as promotion: Music and branding in the digital age. London: John Wiley & Sons.


Van Dijck, J. (2013) The culture of connectivity: A critical history of social media. Oxford: Oxford University Press.

(**N.B. Although reading lists should include current publications, students are advised (particularly for material marked with an asterisk*) to wait until the start of session for confirmation of the most up-to-date material)

Engagement Requirements

In line with the Academic Engagement Procedure, Students are defined as academically engaged if they are regularly engaged with timetabled teaching sessions, course-related learning resources including those in the Library and on the relevant learning platform, and complete assessments and submit these on time. Please refer to the Academic Engagement Procedure at the following link: Academic engagement procedure

Where a module has Professional, Statutory or Regulatory Body requirements these will be listed here:
You will get more out of the module if you attend all classes. In this instance, you are expected to engage with both elements of every weekly class.

Students will be expected to meet the following minimum thresholds for engagement during academic year 2022- 23

• Regular engagement with their Virtual Learning Environment (Aula in the case of this module) as evidence by an average of 3 engagements per week and monitored via appropriate learner analytics within Aula.

• Attendance at 75% of live (‘synchronous’) class activities, online or face to face, with attendance taken in each class and recorded by academic staff via Self-Service Banner.

• Engagement and submission of all assessments unless non-submission is supported by submission of an Extenuating Circumstances Statement (ECS).

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Supplemental Information

Programme BoardArts & Media
Assessment Results (Pass/Fail) No
Subject PanelArts & Media
ModeratorJim Prime
External ExaminerTBC
Accreditation DetailsJAMES
Version Number

2.11

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Assessment: (also refer to Assessment Outcomes Grids below)
In-Class Presentation of a DIY Artefact (40%)
Essay (2500 words) or Presentation (20 minutes) (60%)
(N.B. (i) Assessment Outcomes Grids for the module (one for each component) can be found below which clearly demonstrate how the learning outcomes of the module will be assessed.
(ii) An indicative schedule listing approximate times within the academic calendar when assessment is likely to feature will be provided within the Student Handbook.)

Assessment Outcome Grids (Footnote A.)

Component 1
Assessment Type (Footnote B.) Learning Outcome (1) Learning Outcome (2) Weighting (%) of Assessment ElementTimetabled Contact Hours
Presentationcheck markcheck mark406

Component 2
Assessment Type (Footnote B.) Learning Outcome (1) Learning Outcome (2) Weighting (%) of Assessment ElementTimetabled Contact Hours
Essaycheck markcheck mark603
Combined Total For All Components100% 9 hours

Footnotes
A. Referred to within Assessment Section above
B. Identified in the Learning Outcome Section above

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Note(s):
  1. More than one assessment method can be used to assess individual learning outcomes.
  2. Schools are responsible for determining student contact hours. Please refer to University Policy on contact hours (extract contained within section 10 of the Module Descriptor guidance note).
    This will normally be variable across Schools, dependent on Programmes &/or Professional requirements.

Equality and Diversity
Aligned with the overall commitment to equality and diversity stated in the Programme Specifications, the module supports equality of opportunity for students from all backgrounds and with different learning needs. Using Moodle, learning materials will be presented electronically in formats that allow flexible access and manipulation of content. The module complies with University regulations and guidance on inclusive learning and teaching practice. Specialist assistive equipment, support provision and adjustment to assessment practice will be made in accordance with UWS policy and regulations. The University’s Equality, Diversity and Human Rights Policy can be accessed at the following link: http://www.uws.ac.uk/equality/

Our partners are fully committed to the principles and practice of inclusiveness and our modules are designed to be accessible to all. Where this module is delivered overseas, local equivalent support for students and appropriate legislation applies.

UWS Equality and Diversity Policy
(N.B. Every effort will be made by the University to accommodate any equality and diversity issues brought to the attention of the School)

2014 University of the West of Scotland

University of the West of Scotland is a Registered Scottish Charity.

Charity number SC002520.

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