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Plymouth University

Academic Partnerships

CORNWALL COLLEGE, Camborne

Programme Quality HandbookHND and HNC Music for Film and TV

Academic Year 2017-18

1 | P a g eHND Music for Film and TV Handbook (2016-17)

If you require any part of this Handbook in larger print, or an alternative format, please contact:

HE Operations Tel: (01209 616256)

E-mail: ([email protected])

Please note:

All the information in this Handbook is correct at the time of printing.

The Cornwall College Group is proud of its teaching and research and it undertakes all reasonable steps to provide educational services in the manner set out in this Handbook and in any documents referred to within it. It does not, however, guarantee the provision of such services. Should industrial action or circumstances beyond the control of the College interfere with its ability to provide educational services, the University undertakes to use all reasonable steps to minimise the resultant disruption to those services.


PROGRAMME SPECIFICATION1

Programme Title: HNC-HND Music for Film and Television

Internal Programme Code: 4545 (HNC), 4546 (HND)

Partner Delivering Institution: Cornwall College, Camborne

State Date: 2018-19

First Award Date: 2018-19

Date(s) of Revision(s) to this Document:

This programme specification template aligns with recommendations within the UK Quality Code for Higher Education2. The information provided, by the programme proposer, in each section is definitively agreed between the delivering institution and Plymouth University at approval. Therefore any requests for changes to content (post the conditions set at approval) must follow Plymouth University’s procedures for making changes to partnership programmes3.

ContentsPS1.Programme Details.......................................................................................................................21

PS2. Brief Description of the Programme............................................................................................21

PS3. Details of Accreditation by a Professional/Statutory Body (if appropriate).................................21

PS4. Exceptions to Plymouth University Regulations...........................................................................21

PS5. Programme Aims.........................................................................................................................22

PS6. Programme Intended Learning Outcomes (ILO)..........................................................................22

PS7. Distinctive Features.....................................................................................................................22

PS8. Student Numbers.........................................................................................................................23

PS9. Progression Route(s)....................................................................................................................23

PS10. Admissions Criteria....................................................................................................................24

1 This Programme Specification contains no information pertaining and/or referring to any individual and is therefore appropriate for dissemination as a public document.2QAA, 2011, Chapter A3: The Programme Level, UK Quality Code for Higher Education: http://www.qaa.ac.uk/en/Publications/Documents/quality-code-A3.pdf , last accessed 28 th July 2014 [n.b. this includes ‘Appendix 2: Working with programme specifications: A leaflet for further education colleges’]3 If required please contact Academic Partnerships Programme Administration for assistance.


http://www.qaa.ac.uk/en/Publications/Documents/quality-code-A3.pdf

PS11. Academic Standards and Quality Enhancement........................................................................24

PS12. Programme Structure................................................................................................................26

PS13. Explanation and Mapping of Learning Outcomes, Teaching & Learning and Assessment......27

PS14. Work Based/ Related Learning..................................................................................................31

Appendix.............................................................................................................................................32


PS1. Programme Details

Awarding Institution: Plymouth UniversityPartner Institution and delivery site (s): Cornwall College, CamborneAccrediting Body: N/ALanguage of Study: EnglishMode of Study: Full timeFinal Award: HND Music for Film and TelevisionIntermediate Award: HNC Music for Film and TelevisionProgramme Title: HND Music for Film and TelevisionUCAS Code: 24HWJACS Code:Benchmarks: Framework for Higher Education Qualifications

(FHEQ), and for Foundation Degrees the Foundation Degree Qualification Benchmark (FDQB).

Date of Programme Approval: May 2012

PS2. Brief Description of the ProgrammeThis text is definitively approved at programme approval and therefore may be directly used for promotion of the programme without the need for further confirmation (approx. 200-250 words)

The Music for Film and TV HND programme aims to enable students to learn and develop vocational skills, processes and techniques related to music production and composition within a film and TV context. Students will develop a wide range of moving image appropriate techniques of composition and will gain the theoretical understanding of different media formats through engagement in higher learning. Music for Film and TV students will be encouraged to establish their own small scale collaborative and freelance operations as a means of acquiring and developing appropriate skills.

PS3. Details of Accreditation by a Professional/Statutory Body (if appropriate)

N/A

PS4. Exceptions to Plymouth University Regulations(Note: Plymouth University’s Academic Regulations are available internally on the intranet: https://staff.plymouth.ac.uk//extexam/academicregs/intranet.htm)


https://staff.plymouth.ac.uk//extexam/academicregs/intranet.htm

None

PS5. Programme Aims

This programme will deliver:

A1. Equip individuals with knowledge, understanding and skills for success in employment in the music for film and TV industry

A2. Develop a range of skills and techniques, personal qualities and attributes essential for successful production of music for film and TV thereby enabling learners to make an immediate contribution to employment.

A3. Provide flexibility, knowledge, skills and motivation as a basis for future studies and career development in the film and TV music industry

A4. Enable progression to an undergraduate degree or further professional qualification in a film and TV music related area.

PS6. Programme Intended Learning Outcomes (ILO)

By the end of this programme the student will be able to:

LO1. Develop a wide range of music composition and production skillsLO2. Effectively communicate using written and oral presentationLO3. Exercise responsible scholarship with reference to the study of musicLO4. Determine how to locate relevant information; sort, analyse and utilise that informationLO5. Work in teams and appreciate the importance of peer contribution to film and TV music

production and composition.

PS7. Distinctive FeaturesThis text is definitively approved at programme approval and therefore may be directly used for promotion of the programme without the need for further confirmation:

Students are encouraged to recognise themselves as small scale music composers and producers working as collaborative and freelance practitioners within the music for film and TV industry context.

The flexibility within the curriculum enables students to develop a highly individualised professional identity and specialise within the aspect of moving image music production that they feel most aptitude for and most affinity to.


The level of cross-pathway core delivery will enable interdisciplinary collaboration between music producers, performers and composers of different genres and between musicians and technicians. This will in turn support the development of new ways of working in partnership and establish a culture of peer learning cross fertilization.

The development of the necessary skills for graduates to be able to be successful in managing ‘portfolio’ careers within the freelance music industry.

PS8. Student Numbers

The following provides information that should be considered nominal, and therefore not absolutely rigid, but is of value to guide assurance of the quality of the student experience, functional issues around enabling progression opportunities to occur and staffing and resource planning:

Minimum student numbers per stage = 10

Target student numbers per stage =15

Maximum student numbers per stage =20

PS9. Progression Route(s)

Approved “progression route(s)” are those where successful achievement in this programme enables direct alignment to join a stage of another programme. This is an approach employed primarily for Foundation Degree students to “top-up” to complete a Bachelor degree, but may be employed for other award types.

This is in part an automated admissions criterion and therefore progression may be impacted on by availability of a position on the progression award; however progression opportunity, if not available in the first year of application, is guaranteed within 3 years.

Progression arrangements with institutions other than Plymouth University carry an increased element of risk. It is necessary for the delivering partner institution to obtain formal agreement from that institution to guarantee progression for existing students on the programme. For progression to Plymouth University, should there be the need to withdraw the progression route programme(s) then either this will be delayed to provide progression or appropriate solutions will be found. This arrangement is guaranteed for existing students that complete their programme of study with no suspensions or repeat years and who wish to progress immediately to the University.

The contribution of marks from prior levels of study to the progression award is governed by University regulations.

Progression is possible via the BA Live Music Production or as a Freelance music Professional


PS10. Admissions Criteria

Qualification(s) Required for Entry to this Programme: Details:

Level 2:- Key Skills requirement / Higher Level

Diploma: Level 2 Communication

and/or- GCSEs required at Grade C or above: Normally 4 x GCSEs, to include Maths and English

Level 3: at least one of the following:

- AS/A LevelsMinimum of 1 relevant subject (music, media studies, IT, performing arts) with a minimum of 120 UCAS points

- Advanced Level Diploma: Music / Performing Arts

- BTEC National Certificate/Diploma: Pass in Music, Music Technology, Media Production, Performing Arts

- HNC Pass in any relevant Music, Music Technology, Media Production, Performing Arts

- VDA: AGNVQ, AVCE, AVS: Advanced in Music

- Access to HE or Year 0 provision: In creative or IT subject

- International Baccalaureate: 24 points required

- Irish / Scottish Highers / Advanced Highers: 1 Pass in a Music, Music Technology, Media Production, Performing Arts based subject

Work Experience: Mature students without formal qualifications will be considered by portfolio of relevant production work

Other HE qualifications / non-standard awards or experiences:

Experience in music performance and or production, accompanied by portfolio of recent work

APEL / APCL4 possibilities:

This must be applied for before the start of the programme. Please refer to Plymouth University Academic regulationswww.plymouth.ac.uk

Interview / Portfolio requirements:

Students are expected to attend an interview where possible. Interviewees should bring a portfolio of their work – E-portfolios are acceptable for students unable to attend personally.

Independent Safeguarding Agency (ISA) / Disclosure and Barring Service (DBS) clearance required:

Not initially. However it may be required for some work-based learning placements. The Student may have to pay for the DBS clearance.

PS11. Academic Standards and Quality EnhancementThe Programme Leader/Manager (or the descriptor) leads the Programme Committee in the Plymouth University’s annual programme monitoring process (APM), as titled at the time of approval. APM culminates in the production, maintenance and employment of a programme level

4 Accredited Prior Experiential Learning and Accredited Prior Certificated Learning


http://www.plymouth.ac.uk/

Action Plan, which evidences appropriate management of the programme in terms of quality and standards. Any formally agreed changes to this process will continue to be followed by the Programme Leader/Manager (or other descriptor) and their Programme Committee.

Elements of this process include engaging with stakeholders. For this definitive document it is important to define:

Subject External Examiner(s):

An Interim visit by External Examiner (EE) (usually between January and February) will review work that has been marked, consult students and feed back to the programme manager and module leaders and course team.

Subject Assessment Panel (SAP) reviews the assessment marking and is scrutinised by the subject EE. Representatives of the team review and present their module marks for each student on the programme.

The annual Award Assessment Board (AAB) takes place with Programme Manager, the awarding body’s partnership member and the External to receive the students work and confer progression or award.

Additional stakeholders specific to this programme:

Students have the opportunity to discuss the programme independently, twice a year in the Student Review. This forms part of the discussion for the annual programme monitoring in the autumn and spring of each academic year.

The Student Perception Questionnaire (SPQ) is administered during the year and feeds into the programme review.

Students Representatives attend Annual Programme Monitoring (APM) to contribute student views alongside Module Leaders, the Programme Manager and the Assistant Registrar to monitor module delivery and the course provision.

Curriculum meetings take place once a month to review progression, department provision, resources and staffing.


PS12. Programme Structure5

The following structure diagram(s) provides the current structure for this programme:

FHEQ level: Level 4 & 5 For: Full Time

F/T Route YearWhen in Year? (i.e.

Autumn, Spring etc)

Core or Option Module Credits Module

1 Core 20 CORC1084 - Aural Perception and the Principles of Musical Sound1 Core 20 CORC1085 - Research and Analysis of Musical Genre1 Core 20 CORC1092 – Audio Mastering1 Core 20 CORC1094 - Sequencing Music and Sound1 Core 20 CORC1095 - Foley Recording Techniques and Engineering1 Core 20 CORC1096 - Composing for Film and TV2 Core 20 CORC2072 - Critical Music Listening2 Core 20 CORC2073 - Work Related Experience Interacting with the Music Industry2 Core 20 CORC2074 - Major Project2 Core 20 CORC2081 - Sequencing Techniques for Film & TV Composition2 Core 20 CORC2082 - Sound Design for Film & TV2 Core 20 CORC2083 - Audio Post Production

5


PS13. Explanation and Mapping of Learning Outcomes, Teaching & Learning and Assessment

Developing graduate attributed and skills, at any level of HE , is dependent on the clarity of strategies and methods for identifying the attributes and skills relevant to the programme and where and how these are operationalised. The interrelated factors of Teaching, Learning and Assessment and how these are inclusive in nature, are fundamentally significant to these strategies and methods, as are where and how these are specifically distributed within the programme.

Ordered by graduate attributes and skills, the following table provides a map of the above, plus an exposition to describe and explain the ideas and strategy of each. Therefore, subsequent to the initial completion for approval, maintenance of this table as and when programme structure changes occur is also important:

FHEQ level: 4 & 5

Definitions of Graduate Attributes and Skills Relevant to this Programme

Teaching and Learning Strategy / Methods Prog Aims

Prog intended Learning Outcomes

Range of Assessments Related Core Modules

Knowledge / Understanding:

4.2, 4.3, 4.4.1, 4.4.4, 4.4.5

By the end of this level of this programme the students will be able to demonstrate for a threshold pass:By the end of the programme the student will be able to demonstrate knowledge and understanding of:

The major theories of the discipline(s) and an

Primary: Lectures and tutorials Skills workshops Directed independent study Learning from work

experience Secondary/Supplementary: Case studies

1,2,3

1,2,3

3,4

3,4

Key knowledge and understanding is assessed via a combination of essays, presentations, and seminar performances.

CORC1084CORC1085

CORC2072CORC2074


awareness of a variety of ideas, contexts and frameworks.

The wider social and environmental implications of area(s) of study and is able to debate issues in relation to more general ethical perspectives.

The reciprocal relationship between creative output and the wider socio/cultural matrix.

The responsibilities of the practitioner.

A preparedness to experiment.

Problem-solving exercises

An explanation for embedding Knowledge and Understanding through Teaching & Learning and Assessment at this level of the programme:Lectures and practical exercises will be used to embed knowledge and understanding. Group discussions and peer review will be used to rest and reinforce knowledge and understanding. The assessments used will be designed to address the specific learning outcomes of the module and will draw upon a range of skills.Cognitive and Intellectual Skills:

3.5, 3.11, 4.2, 4.3By the end of this level of this programme the students will be able to demonstrate for a threshold pass:By the end of the programme the student will be able to:

Critique rival theories and frameworks.

Analyse and synthesise.

Intelligently apply appropriate principles in assessing policy or practice.

Demonstrate problem solving and research skills.

Take appropriate risks and be able to evaluate the

Primary: Skills workshops Tutorial/seminar discussions Feedback via coursework

assessment process (essays etc)

Secondary/Supplementary:For example: Policy and practice analysis in

portfolios and tutorials

2,4

2,4

1,4

1,4

Essays/projects/dissertations

Coursework/ groupwork on practical application questions

Portfolio Final production

pieces/ performances

CORC1084CORC1085

CORC2072CORC2074


outcomes of experimentation.

Develop an appreciation between medium and message.An explanation for embedding Cognitive and Intellectual Skills through Teaching & Learning and Assessment at this level of the programme:The development of practical skills is an essential part of this programme and is embedded in the majority of modules. The assessment of these skills will be primarily through the practical portfolios, technical reports and individual research projects.Key Transferable Skills:

3.8, 4.4.1, 4.4.4By the end of this level of this programme the students will be able to demonstrate for a threshold pass:By the end of the programme the student will be able to:

Interact effectively within a team / learning group.

Manage learning using resources for the discipline.

Communicate effectively in a manner appropriate to the discipline (in standard English oral, written, using ICT).

Take responsibility for own learning with minimum direction.

Manage information with the ability to select appropriate data from a range of sources and develop appropriate research strategies

Primary: Library and other research

exercises Group work awareness and

practice Computer-based learning and

assessmentSecondary/Supplementary: Class and seminar

interactions and feedback

3,4

3,4

1,5

1,5

Coursework of all types

Production portfolios Assessed discussions Group work

assessments

CORC1084CORC1085

CORC2072CORC2073CORC2074

An explanation for embedding Key Transferable Skills through Teaching & Learning and Assessment at this level of the programme:Generic and Graduate skills will be developed in all modules through the different modes of assessment. The skills acquired in these modules should be applied in other modules and will be relevant in other real life contexts and will serve to prepare the students for level 4/5 studies. Following the progression route to HND students will undertake 53: Work-based experience and generate a portfolio of evidence to support this


Employment Related Skills:

By the end of this level of this programme the students will be able to demonstrate for a threshold pass: Recognise strengths and areas for improvement Present ideas confidently to a variety of

audiences Work to deadlines Locate opportunities for practice Work effectively in groups Demonstrate the application of knowledge to

varying contexts

Primary: NoneSecondary/Supplementary:None

1,3,4.

1,3,4

2,5

1,5

CORC1084CORC1085

CORC2073

An explanation for embedding Employment Related Skills through Teaching & Learning and Assessment at this level of the programme:Generic and Graduate skills will be developed in all modules through the different modes of assessment. The skills acquired in these modules should be applied in other modules and will be relevant in other real life contexts and will serve to prepare the students for level 4/5 studies. Following the progression route to HND students will undertake 53: Work-based experience and generate a portfolio of evidence to support this.

Practical Skills:5.4.2, 4.4.3, 4.4.4, 3.8

By the end of this level of this programme the students will be able to demonstrate for a threshold pass: Demonstrate a high level of discipline specific

skills Present ideas appropriate to the context and

audience Work effectively in groups

Primary: Projects Designated tasks Lectures and tutorials Learning from work

Secondary/Supplementary:None

1,3,4

1,3,4

2,5

2,5

Project work Competence in a

range of communication techniques

CORC1085

CORC2073CORC2074

An explanation for embedding Practical Skills through Teaching & Learning and Assessment at this level of the programme:Generic and Graduate skills will be developed in all modules through the different modes of assessment. The skills acquired in these modules should be applied in other modules and will be relevant in other real life contexts and will serve to prepare the students for level 4/5 studies. Following the progression route to HND students will


undertake 53: Work-based experience and generate a portfolio of evidence to support this.

PS14. Work Based/ Related LearningWBL is an essential element of Foundation Degrees and therefore needs to be detailed here. However, for all types of HE Programmes there should be an element of employability focus through, at least, Work Related Learning, and therefore the following is applicable for all:

FHEQ level: 4 and 5WBL/WRL Activity: Logistics Prog Aim Prog Intended LO Range of Assessments Related Core Module(s)Skills development with industry relevant hardware and software

Second year module delivered on HND to include:

Graduate Skills Audit

Professional Development Proposal

Reflective Journal

Individual and group Professional Development Portfolios

Critical Evaluation of process

Modules delivered throughout the year. Modules will involve lectures and practical workshops and when possible guest lectures and field trips

A1, A2, A3, A4, ILO1, ILO2, ILO3, ILO4, ILO5

Essays/reports,Individual/Group Practical PortfoliosPresentations,

All Core modules

Work based experience

An explanation of this map: The module named above is a work related module which is a key component of the progression route on the HND. With an emphasis on


techniques and procedures that are relevant to the work place, students will be asked to compile a reflective journal, portfolio of evidence and an evaluation to demonstrate their knowledge and understanding.


Appendix – Definitive Module Records

SECTION A: DEFINITIVE MODULE RECORD . Proposed changes must be submitted via Faculty Quality Procedures for approval and issue of new module code.

MODULE CODE: CORC1084 MODULE TITLE: Aural Perception and The Principles of Musical Sound

CREDITS: 20 FHEQ Level: 4 JACS CODE: W371

PRE-REQUISITES: None CO-REQUISITES: None COMPENSATABLE: Y

SHORT MODULE DESCRIPTOR: (max 425 characters)Having a good musical ear is a prerequisite of professional musical life and a tool that can be relied on throughout a musical career. This module provides a working knowledge of the principles of sound, supported through the study of the physical properties of sound and human hearing. Learners will develop aural perception skills working with a range of musical styles, analysing work using appropriate musical vocabulary, identifying and understanding the musical characteristics, and the different stylistic elements involved.

ELEMENTS OF ASSESSMENT Use HESA KIS definitions]WRITTEN EXAMINATION COURSEWORK PRACTICAL

E1 (Examination) % C1 (Coursework) 100% P1 (Practical) % or Pass/Fail (delete as appropriate)

E2 (Clinical Examination)

% A1 (Generic Assessment)

%

T1 (Test) %

SUBJECT ASSESSMENT PANEL Group to which module should be linked: Camborne

Professional body minimum pass mark requirement: N/A

MODULE AIMS:The aim of this module is to enable learners to explore the fundamental scientific basis of sound to learn to listen critically to music, and analyse it and to use appropriate musical vocabulary.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:1. Understand the theory of sound2. Understand the theory of hearing3. Understand the stylistic elements of music4. Recognise the melodic and rhythmic elements of music

DATE OF APPROVAL: 01 May 2012 FACULTY/OFFICE: Academic PartnershipsDATE OF IMPLEMENTATION: 01 Sept 2012 SCHOOL/PARTNER: Cornwall CollegeDATE(S) OF APPROVED CHANGE: TERM/SEMESTER: All Year

Additional notes (for office use only):17 | P a g e

HND Music for Film and TV Handbook (2016-17)

SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENTItems in this section must be considered annually and amended as appropriate, in conjunction with the Module Review Process. Some parts of this page may be used in the KIS return and published on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes.ACADEMIC YEAR: 2016-2017 NATIONAL COST CENTRE: 115

MODULE LEADER: Dave Hancock OTHER MODULE STAFF:

SUMMARY of MODULE CONTENT•Style, Performance, Music, Melody, Rhythms, Structures, Structural devices, Symbols, Chord progressions.

SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions]Scheduled Activities Hours Comments/Additional InformationLecture 20Tutorial 5Practical Classes and Workshops 20Guided Independent study 155

Total 200 (NB: 1 credit = 10 hours or learning; 10 credits = 100 hours, etc)

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Written exam

E Total = 100%T Total = 100%

Coursework

C1

C2

A deconstruction of a range of contemporary music pieces.Essay based around the theory of sound and perception.

50%

50%Total = 100%

Practical P Total = 100%

Updated by: Date: Approved by: HE Operations Date: 51/09/16

Recommended Texts and Sources:Alton Everest,F. (2009) The Master Handbook of Acoustics .McGraw Hill EducationBenade, .A. (2011) The Fundamentals of Musical Acoustics. Dover Publications"Bowman, D and Terry P. (2003) Aural Matters: A Student's Guide to Aural Perception at Advanced Level.Schott"Campbell, M and Greated, C. (1994) The Musician’s Guide to Acoustics, Oxford University PressTaylor, E. (2011) The AB Guide to Music Theory. ABRSM



MODULE CODE: CORC1085 MODULE TITLE: Research and Analysis of Musical Genre



SHORT MODULE DESCRIPTOR: (max 425 characters)This module allows learners to develop the research skills they need to support both theoretical and practical elements of a chosen genre. Distinguishing between primary and secondary sources, learners will evaluate their validity and extract the necessary information to synthesise their research into an appropriate form for presentation.





%

T1 (Test) %



MODULE AIMS:The aim of this module is to enable learners to acquire the necessary skills and techniques to undertake research into a musical genre and present their findings in an appropriate form.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:5. Research the key developments and characteristics of a specific musical genre6. Select effective primary or secondary methods for undertaking research activities7. Present outcomes based on research using a recognised format


Additional notes (for office use only):



MODULE LEADER: Amy Edwards OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENT•Research methods, Generic conventions, Organisation, Primary sources, Secondary sources, Formulation, Methodology, Format, Presentation methods, Referencing systems

SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions]Scheduled Activities Hours Comments/Additional InformationLecture 20Practical Classes and Workshops 20Seminar 5Guided Independent study 155


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Written exam

E Total = 100%

T Total = 100%

CourseworkC1C2

EssayPresentation of outcomes of research.

75%25%

Total = 100%


Updated by: Date: Approved by: HE Operations Date:15/09/16

Recommended Texts and Sources:Blaxter, L et al. (2010) How to Research . Open University PressDanscombe,M. (2010) The Good Research Guide. Open University Press,"Davies, M. (2007) Doing a Successful Research Project: Using Qualitative or Quantitative Methods.Palgrave Macmillan"Dawson, C.(2007) A Practical Guide to Research Methods. How To Books LtdKumar, R. (2010) Research Methodology: A Step-by-Step Guide for Beginners. Sage PublicationsElectronic Journal of Business Research MethodsQualitative Market ResearchResearch Magazinewww.record-producers.comManagement agency for record producers


www.recordproduction.comProducers blog and news site



MODULE CODE: CORC1092 MODULE TITLE: Audio Mastering

CREDITS: 20 FHEQ Level: 4 JACS CODE: J930


SHORT MODULE DESCRIPTOR: (max 425 characters)In the age of the internet and bedroom studios, the mastering and manufacturing process is often overlooked. This module develops a working knowledge of the work of a mastering engineer and the mastering studio. Learners will explore the creative and corrective possibilities in mastering as the final stage of the recording process.





%

T1 (Test) %



MODULE AIMS:The aim of this module is to enable learners to apply audio mastering skills by preparing recordings for the manufacturing process.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:8. Identify faults and problems in a recording and plan the mastering process9. Apply creative and corrective techniques in the mastering process10. Understand the technical considerations needed to suit various formats and clients’ needs11. Prepare a master recording in readiness for the manufacturing process



SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENT22 | P a g e

HND Music for Film and TV Handbook (2016-17)

Items in this section must be considered annually and amended as appropriate, in conjunction with the Module Review Process. Some parts of this page may be used in the KIS return and published on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes.ACADEMIC YEAR: 2016-2017 NATIONAL COST CENTRE: 115

MODULE LEADER: Nigel Parons OTHER MODULE STAFF:

SUMMARY of MODULE CONTENT•Types of recordings, Listening and analysis, Production issues, Monitoring, Equalisation and level, Editing, PQ encoding, CD formats, Formats, CD manufacture, Quality control, Distribution via internet, Historical manufacturing systems.



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Written exam


Coursework

C1

C2

Audio submission of mastered works for CD and OnlineWritten Report explaining the evolution of mastering

75%

25%Total = 100%



Recommended Texts and Sources:Cann, S. (2007) How to Make a Noise: A Comprehensive Guide to Synthesizer Programming. Coombe Hill"Duffell, D.(2005) Making Music with Samples: Tips, Techniques, and 600+ Ready-to-use Samples.Backbeat"Gorges,P. (2008) Synthesizer Programming. WizooRuss, M. (2008) Sound Synthesis and Sampling (Music Technology). Focal PressComputer MusicMusic TechSound On Soundwww.musictechmag.co.uk


Music technology magazinewww.soundonsound.comSound on Sound magazine



MODULE CODE: CORC1094 MODULE TITLE: Sequencing Music and Sound



SHORT MODULE DESCRIPTOR: (max 425 characters)In this unit learners will create a portfolio of music using the tools available with the major sequencing software packages. Learners will work with MIDI and audio-based sequencing, each of which has a vast range of techniques that can be utilised in the production of music for film and television.





%

T1 (Test) %



MODULE AIMS:This module helps learners to develop an awareness of the tools used for composing and arranging music using a software sequencer.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:12. Create and manipulate melodic ideas13. Create and manipulate rhythmic ideas14. Create and manipulate harmonic ideas15. Use structural devices in compositions



SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENTItems in this section must be considered annually and amended as appropriate, in conjunction with the Module Review Process. Some parts of this page may be used in the KIS return and published


on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes.ACADEMIC YEAR: 2016-2017 NATIONAL COST CENTRE: 115

MODULE LEADER: Nigel Parsons OTHER MODULE STAFF:

SUMMARY of MODULE CONTENTMIDI and Audio sequencing, Stylistic Interpretation, Arrangement, Create, Manipulate, Forms, Structural devices.



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Written exam


Coursework

C1

C2

Original Composition(s) for moving image.Written account of compositional techniques/processes used.

75%

25%Total = 100%



Recommended Texts and Sources:"Wyatt, H. (2004) Audio Post Production for Television and Film: An introduction to technology and techniques. Focal Press"Izhaki, R. (2007) Mixing Audio: Concepts, Practices and Tools. Focal Press"Pejrolo, A. (2005) Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase, Focal Press"



MODULE CODE: CORC1095 MODULE TITLE: Foley Recording Techniques and Engineering



SHORT MODULE DESCRIPTOR: (max 425 characters)Foley recording is a big part of film and TV audio where live sound is not always useable foley recording becomes vital. This module aims to explore the skills required to produce foley for a short video. Learners will produce planning documents including track sheets, spotting lists etc. edit and record a foley library.





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MODULE AIMS:This module aims to enable learners to develop theoretical and practical knowledge of foley sound, including factors affecting audio quality, equipment and effective planning of recording.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:16. Capture Foley recordings using studio equipment17. Understand and use essential studio equipment18. Edit and synchronise Foley recordings to moving image19. Demonstrate effective recording studio organisation

DATE OF APPROVAL: 01 May 2012 FACULTY/OFFICE: Academic PartnershipsDATE OF IMPLEMENTATION: 01 Sept 2012 SCHOOL/PARTNER: Cornwall CollegeDATE(S) OF APPROVED CHANGE: TERM/SEMESTER: Autumn


SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENT



MODULE LEADER: Dave Hancock OTHER MODULE STAFF:

SUMMARY of MODULE CONTENTSample Library, recording chain, recording medium, audio editing, microphones, digital file management. track sheets, spotting list.



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Written exam


Coursework

C1

C2

C3

Technical factors that affect the quality of Foley recordingPlanning documentA portfolio/ sample library of sound effects

25%

25%

50%Total = 100%



Recommended Texts and Sources:Altman, R. (1992) Sound Theory/Sound Practice (BFI Film Readers). RoutledgeHolman, T. (2010) Sound for Film and Television. Focal Press"Theme Ament ,V. (2009) The Foley Grail: The Art of Performing Sound for Film, Games, and Animation.Focal Press , DVD edition""Viers, R. (2008) The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects.Michael Wiese Productions"Weis, B. (1985) Film Sound: Theory and Practice. Columbia University Press



MODULE CODE: CORC1096 MODULE TITLE: Composing for Film and TV



SHORT MODULE DESCRIPTOR: (max 425 characters)Composition for the moving image is a functional application of music composition, and is intended to serve and complement other creative material. As film composition usually involves working with or for several different specialists (directors, editors and music editors), it requires flexibility, and the ability to compromise and adapt to changing requirements.





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MODULE AIMS:The aim of this module is to enable learners to understand and apply techniques to the composition of music for film and television, analysing key works and practical considerations. You will compose music for a large variety of different types of moving image.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:20. Understand definitive examples of music composed for the moving image21. Apply compositional techniques involved in the composition of music for film and television22. Understand practical considerations involved in composing for film and television23. Use studio technology in the production of music for film and television





MODULE LEADER: Nigel Parsons OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENTOriginating musical ideas, Extending and developing musical material, Song structures and Form, Composing for a variety of genres



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Written exam


Coursework

C1

C2

A showreel of original sound/music compositionResearch-based essay on the history of composition

75%

25%Total = 100%



Recommended Texts and Sources:Altman, R. (1992) Sound Theory/Sound Practice (BFI Film Readers). RoutledgeDavis, R. (2010) Complete Guide to Film Scoring (Berklee Guide). Berklee Press PublicationsHolman,T. (2010) Sound for Film and Television. Focal PressKarlin, F. (2010) On the Track: A Guide to Contemporary Film Scoring. Routledge"Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema.Michael Wiese Productions"Weis, B. (1985) Film Sound: Theory and Practice. Columbia University Press



MODULE CODE: CORC2072 MODULE TITLE: Critical Music Listening



SHORT MODULE DESCRIPTOR: (max 425 characters)Acquiring and developing critical music listening skills expands creative opportunities. Film music necessitates a wide timbral appreciation; electronic manipulation with creative synthesis and sampling requires an appreciation of the tonal palette. On completion, learners will have developed a deeper understanding of music and sonic listening skills and awareness.





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MODULE AIMS:This module aims to develop learners’ critical listening abilities necessary to function successfully as a performer, producer or engineer.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:24. Understand individual musical characteristics in a performance or recording25. Understand sonic problems that may have a negative effect upon music performance or

production26. Accurately balance combinations of musical and other sonic elements in a performance or

production





MODULE LEADER: Julian Gaskell OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENTPitch, Harmony, Timbre, Homogenous, Disparate, Groupings, Musical, Balance and timbre, Extraneous problems, Timbral corrections, Balance/placement, Use of effects, Quality.



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Written exam


Coursework

C1

C2

Analysis of chosen piece of contemporary music.A high quality, flawless audio submission.

50%

50%Total = 100%



Recommended Texts and Sources:Davis, G. and Jones, R. (1990) The Sound Reinforcement Handbook. Hal Leonard CorporationPaynter, J. (1992) Sound and Structure. Cambridge University PressRumsey, F. and McCormick, T. (2009) Sound and Recording, 6th edition. FocalWinterson,J, Nickol, P and Bricheno, T. (2003) Pop Music: The Text Book. Peters EditionAudiomedia (www.audiomedia.com)Live Sound International (www.livesoundint.com)Pro Sound News (www.prosoundeurope.com)Sound on Sound



MODULE CODE: CORC2073 MODULE TITLE: Work Related Experience Interacting with the Music Industry



SHORT MODULE DESCRIPTOR: (max 425 characters)Within this module a significant amount of learning can be achieved through work related experience. Learners will gain an understanding of the structures, roles and responsibilities of music business organisations and how this relates to self-promotion and marketing of freelance and portfolio based careers.





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MODULE AIMS:The aim of this module is to explore the roles and responsibilities of music business organisations enabling learners to exploit and promote their product or service by developing appropriate marketing strategies designed to support musicians, DJ / performer, producers , engineers or portfolio careers. Learning may take place in a work- related context by planning and carrying out activities, projects and commissions and recording & evaluating them in an appropriate manner.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:27. Understand how music businesses work28. Understand the roles and responsibilities of music business organisations29. Develop strategies to successfully market specific products or events30. Undertake work related experience as identified





MODULE LEADER: Jonathan Perkins OTHER MODULE STAFF:

SUMMARY of MODULE CONTENTRoles and responsibilities of music business organisations.Copyright Law, infringement, Collection Societies and ContractsCarry out work related experience and record, revise and evaluate in journalsIdentification of specific selling points, devise, budget and implement marketing activities designed for interventions with the music industry



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Written exam


CourseworkC1C2

EssayEngage in work-related activity

50%50%

Total = 100%Practical P Total = 100%


Recommended Texts and Sources:Hutchison, T, Macy, A and Allen, P. (2009) Record Label Marketing. Focal Press"Levine, M. (1997) How to Be a Working Musician: A Practical Guide to Earning Money in theMusic Business. Billboard Books"Music Managers Forum – The Music Management Bible (Sanctuary, 2003)Pattenden, S. (2007) How to Make It in the Music Business. Virgin BooksSchulenberg, R. (2005) Legal Aspects of the Music Industry. Billboard Books



MODULE CODE: CORC2074 MODULE TITLE: Major Project

CREDITS: 20 FHEQ Level: 5 JACS CODE: N213


SHORT MODULE DESCRIPTOR: (max 425 characters)This module deals with the practical application of skills and techniques required in the preparation and production of music and or music performance whilst working as part of a team.Learners will develop skills in decision making, problem solving and communication, integrated with the skills and knowledge developed in many of the other units within the programme to complete a realistic project.


E1 (Examination) % C1 (Coursework) 100 % P1 (Practical) % or Pass/Fail (delete as appropriate)



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MODULE AIMS:This module provides a practical framework for developing work in the music industry from initial and preparatory ideas through the process culminating in the production of work or performance. Learners will develop skills of independent enquiry by undertaking a sustained investigation of direct relevance to their vocational, academic and professional development.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:31. Formulate a project32. Understand music production process, production and planning roles33. Implement the project within agreed procedures and to specification34. Evaluate the effectiveness of the final project and contributions from the team





MODULE LEADER: Oliver Brand OTHER MODULE STAFF:

SUMMARY of MODULE CONTENTManagement and administration, performance team, design team, initial brief, budget and resources, planning and organisation, rehearsals, reflection, deadlines, communication



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Written exam


Coursework

C1

C2

Major project portfolio- audio/audio-visual / performanceEvaluation of major project

75%

25%Total = 100%


Updated by: Date Approved by: HE Operations Date:15/09/16

Recommended Texts and Sources:"Conway, D. (2009) The Event Manager’s Bible: The Complete Guide to Planning and Organisinga Voluntary or Public Event. How To Books Ltd"Mitchell, B. (2001) Gigging Musician: How to Get, Keep, and Play the Gig. Backbeat BooksPopyk, B. (2003) The Business Of Getting More Gigs as a Professional Musician. Hal LeonardSpellman, P. (2008) The Self-Promoting Musician. Berklee Press, Hal LeonardWilkins, T. (2007) Access All Areas: A Real World Guide to Gigging and Touring. Focal Press



MODULE CODE: CORC2081 MODULE TITLE: Sequencing Techniques for Film and TV Composition



SHORT MODULE DESCRIPTOR: (max 425 characters)A music soundtrack can make or break a film or video. In this module, learners will explore the skills required to create musical soundtracks to compliment or even drive the feel of a short film or video.





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MODULE AIMS:The aim of this module is to enable learners to use the music composition, production and audio features made available by modern computers.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:35. Analyse commercial music soundtracks identifying compositional techniques used.36. Compose music soundtrack(s) for a short video37. Understand the tools used for composing and arranging using technology38. Produce musical material using a range of techniques and technology






MODULE LEADER: Dave Hancock OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENTComposing, film soundtracks, digital recording technology, synchronisation, film and video.



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Written exam


Coursework

C1

C2

Analyse a range of commercial film soundtracksCreate a musical sountrack to a given short film/ video

50%

50%Total = 100%


Updated by Date Approved by: HE Operations Date: 15/09/16

Recommended Texts and Sources:"Wyatt, H. (2004) Audio Post Production for Television and Film: An introduction to technologyand techniques. Focal Press"Izhaki, R. (2007) Mixing Audio: Concepts, Practices and Tools. Focal Press"Pejrolo, A. (2005) Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase. Focal Press"



MODULE CODE: CORC2082 MODULE TITLE: Sound Design for Film and TV



SHORT MODULE DESCRIPTOR: (max 425 characters)Learners will study and explore cutting-edge sound design techniques used in contemporary film and TV. They will learn to create their own original sound design using a combination of sampling, synthesis and sequencing techniques for a specific piece of moving image and synchronise this to the chosen piece of moving image.





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MODULE AIMS:The aim of this module is to enable learners to create original sound design for film and TV applications through studying contemporary productions and developing an understanding of the techniques used and skills required in this field.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:39. Understand the application of sound design in film and TV40. Create original sound design using a combination of synthesis and sampling techniques41. Edit and synchronise sound design elements to moving image42. Produce a complete audio-visual piece






MODULE LEADER: Dave Hancock OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENTSound Design, Synchronisation, Synthesis, Sampling, Signal Processing, Audio Editing, Spotting List



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Coursework

C1

C2

C3

Sound design to moving image video file.Selection of individual sound design elementsWritten report highlighting a selection of sound design

50%

25%

25%Total = 100%



Recommended Texts and Sources:Altman, R. (1992) Sound Theory/Sound Practice (BFI Film Readers) . RoutledgeDavis, R. (2010) Complete Guide to Film Scoring (Berklee Guide). Berklee Press PublicationsHolman, T. (2010) Sound for Film and Television. Focal PressKarlin, F. (2010) On the Track: A Guide to Contemporary Film Scoring. Routledge"Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese Productions"Weis, B. (1985) Film Sound: Theory and Practice. Columbia University Press



MODULE CODE: CORC2083 MODULE TITLE: Audio Post Production



SHORT MODULE DESCRIPTOR: (max 425 characters)Audio production has multiple applications, and though popular perception is that it is used primarily for music there are also post-production opportunities in the industry for a variety of media such as film, television, advertising, animation and new media. This often involves collating and combining production audio, library sound effects, music, and dialogue, as well as recording replacement dialogue and sound effects.





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MODULE AIMS:The aim of this module is to enable learners to work in audio post-production studios with the skills surrounding the combination of sound and images in a variety of media.

ASSESSED LEARNING OUTCOMES: (additional guidance below)At the end of the module the learner will be expected to be able to:43. Understand how key developments in sound and moving image technology have impacted on

working practices44. Apply production and post-production recording techniques45. Edit a variety of audio tracks for different media46. Mix soundtracks for a final delivery.






MODULE LEADER: Nigel Parsons OTHER MODULE STAFF: None

SUMMARY of MODULE CONTENTProduction roles, Recording techniques, Planning and organising, Communication, Create, Manipulate, Mixing desks, Audio and Visual editing software, File formats, Sound libraries, Locations, Historical context, Scoring, Production/post-production.



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Written exam


Coursework

C1

C2

Written report- History and importance of soundComplex audio recording/edit

50%

50%Total = 100%



Recommended Texts and Sources:"Aims,T. (2004) Audio Post Production for Television and Film: An introduction to technology and techniques. Focal Press"Davis, R. (2010) Complete Guide to Film Scoring (Berklee Guide). Berklee Press PublicationsHolman,T. (2010) Sound for Film and Television. Focal PressKarlin, F. (2010) On the Track: A Guide to Contemporary Film Scoring. Routledge"Sonnenschein, D. (2010) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese Productions"Weis, B. (1985) Film Sound: Theory and Practice. Columbia University PressYewdall, D L. (2011) Practical Art of Motion Picture Sound. Focal Press
