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Module draws together two important creative elements - songwriting and production. Aims to provide an overall view of how technology is used in modern music production. Emphasis is on midi and audio programming using Logic Pro, with as much practical application as possible.
Module draws together two important creative elements - songwriting and production. Aims to provide an overall view of how technology is used in modern music production. Emphasis is on midi and audio programming using Logic Pro, with as much practical application as possible.
Module draws together two important creative elements - songwriting and production. Aims to provide an overall view of how technology is used in modern music production. Emphasis is on midi and audio programming using Logic Pro, with as much practical application as possible.
Paul Stanborough Contact Details paul.stanborough@icmp.co.uk
Room: as timetabled Student Hours:
Timetabled Teaching
See teaching schedule (Page 5) and Timetable
Assessment
CW1 - Music Technology - Practical Assessment
CW1 - Songwriting Lead Sheet (structure, chords) plus Lyrics CW3 - Songwriting Recital Performance Week 12 Thurs 18 th Dec 2014 Week 7 Mon 10 th Nov 2014 Exam Period 5 th 16 th
Jan 2015
3 INTRODUCTION TO THE MODULE
Welcome to the Music Production Module - Semester 1a.
This module draws together two important creative elements songwriting and production.
Songwriting will introduce and develop the skills you need to create, organise and produce original work across a range of styles, focusing upon the fundamental compositional elements - lyrics, melody, harmony and rhythm. Using each of these elements, separately and collectively, as creative starting points, you will be encouraged to begin to develop your own songwriting.
Music Technology aims to provide an overall view of how technology is used in modern music production. The emphasis is on midi and audio programming using Logic Pro, with as much practical application as possible.
Main Topics of Study:
Music Technology 1a An introduction to the fundamentals of Music Technology designed to equip students with the tools necessary to understand and apply the principles of music processing and programming.
Music Technology 1a will give you an understanding of what goes on in a modern recording studio and how production techniques, technology recording practices are used in contemporary music.
Songwriting 1a An introduction to the ethics of arrangement, and the basic principles of song construction, including form, lyric writing, and rhythmic and harmonic construction
Semester 1a of this course teaches songwriting by following an historical time-line of specific musical genres.
Students should expect to learn and acquire the core skills of songwriting
ATTENDANCE POLICY:
Every student is required to engage fully with module content in order to gain credit for their studies. Students must meet the Universitys minimum attendance threshold of 75%. If a student is absent for two consecutive weeks, programme administrators will write to the student warning them of the consequences of non-attendance. In line with the Student Attendance Policy (see student Handbook appendix E), students failing to attend for three consecutive weeks will automatically be withdrawn from the module in question. Withdrawal from two modules for reasons of non-attendance will result automatically in withdrawal from their programme of study.
4 MODULE AIMS
To introduce and develop the skills required to create, organise and produce original work.
MODULE LEARNING OUTCOMES
At the end of this Module, students will:
Knowledge 1. Understand, identify, and acquire a working knowledge of different programming and processing styles
2. Understand, identify, and acquire a working knowledge of simple compositional forms within the idiom of popular music
3. Use IT systems, communicate electronically and use any relevant basic computer packages
4. Be aware of and understand protocols of music production
Thinking skills 5. Apply acquired knowledge and skills in the composition of an original piece of music
Subject-based practical skills 6. With limited guidance, use basic programming and processing skills to demonstrate the use of music technology within the context of composition and arrangement. 7. Demonstrate an understanding of basic rhythmic and harmonic compositional devices.
Skills for life and work (general skills) 8. With limited guidance, solve technical issues which arise when using technology
READING AND RESOURCES LIST
Music Technology Bustello, D. (2012) Logic Pro for Recording Engineers & Producers: Hal Leonard Senior, M. (2011) Mixing Secrets for the Small Studio: Focal Press White, P. (2011)The Producer's Manual: Sample Magic
Songwriting Blume, J. (2008)The Comprehensive Guide To Writing And Marketing Hit Songs Cole, B (2006) The Pop Composers Handbook Davis, S. (1994) Successful Lyric Writing Murphy, R. (2011) Murphys Laws Of Songwriting - The Book Rooksby, R. (2006) The Songwriting Sourcebook
ADDITIONAL LEARNING AND TEACHING RESOURCES:
Learning Resources at; ICMP, UEL, local library, Barbican Library Observing performance; live, recorded (Online/DVD/Video) 5
TEACHING SCHEDULE
MODULE SCHEDULE (WEEK BY WEEK BREAKDOWN)
WEEK DATE LECTURERS LECTURE
15-Sep-14 N/A INDUCTION
1 22-Sep-14 Ken Foreman Paul Stanborough, Steve Turner and others Introduction to the Songwriting Course Introduction to the Music Technology Course
2 29-Sep-14 As Above Blues Songwriting Intro to Logic and MIDI 3 06-Oct-14 As Above Rhythm and Blues and Voodoo Intro to Logic and MIDI 2 4 13-Oct-14 As Above Rock n Roll Cars, Girls and Teen Idols Midi Programming & Editing 5 20-Oct-14 As Above Introducing the Principal, Major-Key Progressions Midi Programming & Arranging the song
27-Oct-14 Break Week Break Week 6 03-Nov 14 As Above Variations of the Principal, Major-Key Progressions Audio Recording 7 10-Nov-14 Ken Foreman Paul Stanborough, Steve Turner and others Lyrics Hand-in Lead Sheet Loops 8 17-Nov-14 As above Longer chord progressions, structure, and modulations between keys Sampling 9 24-Nov-14 As Above Introducing the Classic, Minor-Key Chord Progressions Sound Design 10 01-Dec-14 As Above Power Chords and Riffs Sound theory & Intro to mixing 11 08-Dec-14 As Above Blueprint for writing a Rock Song Arrangement techniques 12 15-Dec-14 As Above Review of submission songs for examination Bouncing and burning the arrangement 05-Jan-14 EXAMS
Each week you will attend: A songwriting class A music technology class
6 HEALTH AND SAFETY GUIDELINES / LAB, STUDIO OR WORKSHOP PROTOCOLS
Please refer to the Institute handbook
ASSESSMENT
CW1 Music Technology Practical Assessment (35%) Hand-in date Thurs 18 th Dec 2014
CW2 Songwriting - Lead sheet and Lyric sheet (15%) Hand-in date Mon 10 th Nov 2014
CW3 Songwriting Recital Performance (50%) Week 15
Assessment Details
CW1 (Learning Outcomes 1, 3, 4, 6 and 8)
For your Music Technology assessment, you will be required to program and record a version one of the following songs: Prince - Sign of the times Beck - Gamma Ray Lykke Li - Im good, Im gone
The songs can be found on the ICMP drive in the Students folder. The following is required: Identify the correct song structure (number of verses, choruses etc.) Program the correct drum pattern, try and find a drum sound in Logic that resembles the original as close as possible. The drum part cannot be recorded using live drums and has to be programmed via MIDI. Record or program the guitar parts for the song either using a real guitar or using a software instrument sound in Logic, try and find a sound that resembles the original as close as possible. Transcribe and print the lyrics. Record the vocals for the 1st verse and chorus of the song. Duration has to be at least 2 minutes.
You are allowed to collaborate and use other students for live recorded guitar and vocal parts. However all MIDI parts has to be programmed by yourself and each project has to have the drum part programmed using Logics in built software instruments.
Submission USB to include: Aiff bounce of the final mix Logic folder to include 'all assets', in practice all audio files plus plug-in settings
7
CW2 (Learning Outcomes: 2, 5 and 7)
For you first songwriting assessment, you will be required to compose one original song. The song may be in any style or genre and must include lyrics. The song should be all your own work - if at any stage of the writing process collaboration has been involved, you must inform and seek guidance from your tutor before handing the work in.
Submission: Lyric sheet Lead sheet (melody, chords and structure) In addition, you may also submit: MP3 audio version (optional)
CW3 (Learning Outcomes: 2, 5 and 7)
For your final songwriting assessment of semester a, you will be required to write a second original song. Again the song may be in any style or genre and must include lyrics. The song should be all your own work - if at any stage of the writing process collaboration has been involved, you must inform and seek guidance from your tutor before the assessment.
Recital Performance You will deliver a recital performance of your song during the exam period (Week 15). The performance does not necessarily have to be by the composer it can be performed by anyone of the writers choice. Guest singers and musicians may be used to present the song in its best light.
Students must achieve a 40% Pass in each assessment
All Resits will take place during the Resit Period 14 th to 18 th July 2014
8 Grading Criteria in Production
1 Composition
Appropriateness of format and structure unity of concept & realisation effectiveness of outcome 2 Critical Imagination
clarity and cogency of expression of ideas evidence of integrative method evidence of learning & independent thinking
3 Presentation/Technique
level of cohesion & control formal literacy evidence of planning/rehearsal drafting & revision and effective organisation
70% + Innovative: illuminating and expansive articulation of source material and format; integrated expression of theme through form compelling, lyrical text.
Intellectually rich: advanced, complementary understanding of theory, technology and form, realised through cogent; insightful thesis. Lucid and persuasive, demonstrates ability to uncover and connect structural relations between media, creative productivity and society. Original, distinctive authorial voice. Imaginative.
Commanding: innovative use of technology - exceeds convention; authoritative, fluent control of idiom, metaphor, citation etc. Expertly organised and managed.
60% +
Accomplished: informed and informative use of relevant source material; complementary application of theme through appropriately styled format. Effective structure, consistent composition; impactful text.
Developed: thoroughly well grounded and achieved, integrative exposition. Demonstrable evidence of applied learning. Convincing, informative. Strong authorial voice.
Assured: high level of technical efficiency; low incidence of superfluous and/or redundant or gratuitous effects. Appropriate care taken; cohesive, effective pacing etc.; in control. Effectively organised and managed.
50% +
Competent: quite well designed; endeavours to integrate medium and theme, though inconsistent in parts and not always demonstrating a complementary relation between the two. Not wholly convincing, though shows demonstrable commitment and application to task; perhaps too reliant on conventional approaches. Adequate text.
Satisfactory grasp of theory practice relations, though not entirely sustained or convincing. Indistinct perspective.
Adequate: in general, technically competent; sufficient but restricted formal register. Does not establish full control. Some redundant elements. Inclined to technological fetishism and/or literalmindedness. (Would benefit from further drafting). Fairly well organised and managed.
40% + (pass)
Underdeveloped: sparsely resourced; mismatched and superficial treatment of theme and form. Generally unconvincing of diligence and deliberation. Poorly structured, ill- composed.
Naive, ill-prepared conception and representation and though effort made and some suggestion of thought, overall, not convincing. Lacks rigour. Limited awareness; weak presence.
Underdeveloped: confused, and sometimes inappropriate use of technology and poor command of formal language. Prone to awkwardness. Slack and at times languid, repetitive, off-key. Uncertain. Inarticulate. Shabby management and organisation.
30%
Inadequate: vacuous, little if any evidence of planning, or attention to specificities of presentation in the project. Confused, disjointed, ill- informed. Inappropriate - should not proceed with media practice.
Intellectually impoverished: no connecting argument. Irrelevant, incoherent miscellany, made without awareness of significance of form. Unselfconscious; suggesting indolence and/or incapacity. Fail.
Nonsensical : wholly inefficient and ineffective command of formal means of communication. Artless, confused and confusing. Rash of unmotivated effects. Below threshold of technical competence. Incompetent management and organisation.
30% 30% 20% 20% Melody and Harmony Lyric Structure Performance / Representation 70+ Moving, memorable melody. Perfectly complimented by harmony Original and inspired. Creative use of imagery. Enlightened expression of theme or message Excellent and inventive structure making perfect use of individual song sections Convincing, assured performance perfectly representing the composition. Accurate and emotive lead vocal 60+ Strong melody with solid, well developed harmonic support Very good lyric. Well expressed, clear theme, demonstrating original thought. Good use of imagery Strong arrangement. Very good definition between sections and maintains momentum and intensity Strong performance. Accurate vocal. Song very well represented. Evidence of focussed rehearsal 50+ Good, identifiable melody and suitable chord progression Good lyric, though not inspired. Theme and imagery evident, though not developed Decently organised arrangement. Defined sections and momentum generally maintained Good performance. Song represented adequately. Vocal fine but with some tuning, phrasing discrepancies 40+ Satisfactory melody and harmony Acceptable lyric which does not detract from melody Acceptable arrangement but lacks some focus and loses interest Average performance. Lack of rehearsal. Vocal lacks accuracy and emotion Fail No defined melody, inadequate and undeveloped Poor, clichd and unacceptable Chaotic. No definition between sections. Poor Unsatisfactory performance. Unsuitable arrangement. Vocal so poor that song unrecognisable
1. Recognisable similarity to another composition minus 10% 2. Deliberate Passing-off - fail
10 Module Specification Module Title:
MUSIC PRODUCTION 1a Module Code: PA1903
Level: FHEQ Level 4
Credit: 20
ECTS credit: 10 Module Leader:
Ken Foreman Pre-requisite: N/A
Pre-cursor: N/A
Co-requisite: N/A
Excluded combinations : N/A
Is this module part of the Skills Curriculum? No University-wide option: No Location of delivery: The Institute Main aim(s) of the module:
To introduce and develop the skills required to create, organise and produce original work.
Main topics of study:
Music Technology 1a
An introduction to the fundamentals of Music Technology designed to equip students with the tools necessary to understand and apply the principles of music processing and programming.
Songwriting 1a
An introduction to the ethics of arrangement, and the basic principles of song construction, including form, lyric writing, and rhythmic and harmonic construction.
Learning Outcomes for the module
At the end of this Module, students will:
Knowledge 1 Understand, identify, and acquire a working knowledge of different programming and processing styles
2 Understand, identify, and acquire a working knowledge of simple compositional forms within the idiom of popular music
3 Use IT systems, communicate electronically and use any relevant basic computer packages
4. Be aware of and understand protocols of music production
Thinking skills
5 Apply acquired knowledge and skills in the composition of an original piece of music
Subject-based practical skills
6 With limited guidance, use basic programming and processing skills to demonstrate the use of music technology within the context of composition and arrangement
7 Demonstrate an understanding of basic rhythmic and harmonic compositional devices
Skills for life and work (general skills)
8 With limited guidance, solve technical issues which arise when using technology
Teaching/ learning methods/strategies used to enable the achievement of learning outcomes: For on campus students:
Lectures, workshops, song writing tutorials, technical demonstrations.
Assessment methods which enable students to demonstrate the learning outcomes for the module; please define as necessary:
CW1: Practical assessment - Music Technology
Weighting:
35 %
Learning Outcomes demonstrated:
1,2,3,4,5,6,7 11 CW2: Songwriting Lead Sheet plus Lyrics
CW3: Recital Performance of one song
15%
50%
2,5,8
2,5,7 Reading and resources for the module:
Core: Cole, B. (2006). The pop composer's handbook. Schott & Co Ltd. Rooksby, R. The songwriting sourcebook. Backbeat Books. Recommended: Runswick, D. (1992). Rock, jazz and pop arranging. Faber. White, P. (2002). Midi for the technophobe. Sanctuary Publishing, London, ISBN1860744443. White, P. (2002). Recording & production techniques. Sanctuary Publishing, London, ISBN1860744435. Borwick, J (ed). Sound recording practice. Oxford University Press. Harnsberger, Lindsay C. (1976). Essential dictionary of music definitions. New York: Alfred Pub Co, ISBN0882847678. Clackett, D. Handbook of midi sequencing. Black, D, Gerou, T. (1998). Essential dictionary of orchestration. New York: Alfred Pub Co, ISBN0739000535. Millward, S. (1998). First guide to cubase VST. PC Publishing. Gerou, T, Lusk, L. (1996). Essential dictionary of music notation. New York: Alfred Pub Co, ISBN: 0882847309. Sebesky, D. (1984). The contemporary arranger. New York: Alfred Pub Co, ISBN0882844857. Alder, S. (2002). Study of orchestration. New York: W.W. Norton & Co, ISBN039397572X. Owsinski, B. (1999). The mixing engineers handbook. New York: Music Sales Limited, ISBN0872887235. White, P. (2001). Home recording made easy: Professional recordings on a demo budget. London, Sanctuary Publishing, ISBN1860743501 Middleton, R. (1990). Studying popular music. Open University Press.
Indicative learning and teaching time (10 hrs per credit): Activity 1. Student/tutor interaction, some of which may be online: