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Session: 2022/23
Last modified: 18/07/2022 11:45:19
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Title of Module: Music Production Analysis |
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Code: COMP07076 |
SCQF Level: 7
(Scottish Credit and Qualifications Framework) |
Credit Points: 20 |
ECTS: 10
(European Credit Transfer Scheme) |
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| School: | School of Computing, Engineering and Physical Sciences |
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| Module Co-ordinator: | Colin
Grassie |
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| Summary of Module |
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This module creates an opportunity for students to read, discuss, listen, evaluate and write using different aspects of both a musical and technical language comprising the interdisciplinary subjects of Music Technology, Music Production and Musicology.
Analysis of music production will be made from selected pieces of music. Students will select a genre, and a commercially successful musical piece, and perform written and graphical analysis of the audible production processing and aesthetic.
Students will define the process of the music production process by separating it into basic stages and descibing the uses of music technology and provide description of the roles of musician / arranger, engineer and producer.
- Students will develop an understanding of music production through listening, analysis and critical appraisal
- Investigation of key music producers and an evaluation of their influence within the context of genre development will be undertaken.
- Essential listening skills and music production language will be developed enabling communication for music producers working with professional musicians.
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An overall appreciation of key individual roles in the production process, from artist to mastering engineer, and digital music distribution will also be developed by the student.
- Students will study and engage with writing about contemporary technical production constructs with an understanding of various discourses related to music production, music technology, and musicology.
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| Module Delivery Method |
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| Face-To-Face | Blended | Fully Online | HybridC | HybridO | Work-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.
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| Term(s) for Module Delivery |
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(Provided viable student numbers permit).
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| Term 1 | | Term 2 | | Term 3 | |
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| Learning Outcomes: (maximum of 5 statements) |
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On successful completion of this module the student will be able to:
L1.
Identify and evaluate a range of contemporary music production techniques.
L2.
Demonstrate an overall appreciation of key individual roles in the production process.
L3.
Explain and describe the relationship between music technology development, digital distribution and music promotion.
L4.
Convey complex ideas in a well-structured and coherent form related to music production, music technology, and musicology |
| Employability Skills and Personal Development Planning (PDP) Skills |
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| SCQF Headings |
During completion of this module, there will be an opportunity to achieve
core skills in:
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| Knowledge and Understanding (K and U) |
SCQF Level 7.
Demonstrating an overall appreciation of the body of knowledge that constitutes contemporary music production.
Working with knowledge that is embedded in the main theories, concepts and principles of the music production process. |
| Practice: Applied Knowledge and Understanding |
SCQF Level 7.
Explaining and describing the relationship between music technology development, digital distribution and music promotion. |
| Generic Cognitive skills |
SCQF Level 7.
Presenting and evaluating arguments, information and ideas that are routine to music technology and musicology. |
| Communication, ICT and Numeracy Skills |
SCQF Level 7.
Conveying complex ideas in well-structured and coherent form associated with music production, music technology, and musicology. |
| Autonomy, Accountability and Working with others |
SCQF Level 7.
Exercising some initiative and independence in carrying out defined activities at a professional level in musicology. |
| Pre-requisites: |
Before undertaking this module the student should have
undertaken the following:
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Module Code:
| Module Title:
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| Other: | |
| Co-requisites | Module Code:
COMP07068
| Module Title:
Recording and Production 1
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* Indicates that module descriptor is not published.
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| Learning and Teaching |
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| Teaching and learning activities will be primarily in the form of lectures, directed study activity, where applicable, and tutorials. |
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 Delivery | 12 |
| Tutorial/Synchronous Support Activity | 24 |
| Independent Study | 164 |
| 200
Hours Total
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**Indicative Resources: (eg. Core text, journals, internet
access)
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The following materials form essential underpinning for the module content
and ultimately for the learning outcomes:
Moylan, W. (2007) Understanding and Crafting the Mix: The Art of Recording. 2nd edn. Burlington, MA: Focal Press.
Mulligan, M. M. J. (2015) Awakening: The Music Industry In The Digital Age. London: CreateSpace Independent Publishing Platform.
Milner, G. (2010) Perfecting Sound Forever: The Story of Recorded Music. Granta Books.
Huber, D. and Runstein, R., 2017. Modern Recording Techniques. 9th ed. Focal Press.
Details of further resources, including textbooks, and online resources will be identified at the beginning of each delivery in the module handbook and made available via Moodle.
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(**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)
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| Engagement Requirements |
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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:
Students must complete the assessment milestones laid out in the handbook in respect of the submissions of a Essay CW1 and Essay CW2. Students must attend formal lecture sessions and separate tutorial-group sessions. |
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Supplemental Information
| Programme Board | Computing |
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| Assessment Results (Pass/Fail) |
No
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| Subject Panel | Creative Computing |
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| Moderator | Robert Goldie |
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| External Examiner | J Paterson |
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| Accreditation Details | This module is accredited by JAMES as part of BSc (Hons) Music Technology |
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| Version Number | 1.03 |
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| Assessment: (also refer to Assessment Outcomes Grids below) |
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CW1 Assessment 1: (1, 500 word essay) Evaluate and analyse a critically acclaimed piece of music.
Worth 40% of overall module mark. |
CW2 Assessment 2: (2,500 word essay) Evaluate the key individual roles in the production process from artist to mastering engineer.
Worth 60% of overall module mark. |
(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.)
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Assessment Outcome Grids (Footnote A.)
Footnotes
A. Referred to within Assessment Section above
B. Identified in the Learning Outcome Section above
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Note(s):
- More than one assessment method can be used to assess individual learning outcomes.
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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.
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| Equality and Diversity |
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The University's Equality, Diversity and Human Rights Procedure can be accessed at the following link: UWS Equality and Diversity Policy.
The range of musical and cultural content within the module can be adapted to encompass the requirements of a range of gender and nationality reflecting the global music industry.
UWS Equality and Diversity Policy |
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(N.B. Every effort
will be made by the University to accommodate any equality and diversity issues
brought to the attention of the School)
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