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Music |
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10030 | Ensemble Performance | EP | C | 7.5 | 15 | |
| Students have the opportunity and coaching to form ensembles and select and investigate appropriate works. They also develop knowledge of ensemble repertoire of all periods, with the opportunity to rehearse and perform appropriate selected works. They contribute 10-15 minutes to an open ensemble performance. This is also the first level of a pathway in ensemble and chamber performance. The module also hones important skills in group work. There are weekly seminars and workshops devoted to forming ensembles, selecting repertoire, rehearsal and critical peer performances. There are opportunities for students to conduct ensembles. Related work includes active listening, score reading, individual instrumental practice and organized ensemble rehearsal outside of class time. | ||||||
| MUS-10030 | Ensemble Performance | O | C | 7.5 | 15 | |
| Students have the opportunity and coaching to form ensembles and select and investigate appropriate works. They also develop knowledge of ensemble repertoire of all periods, with the opportunity to rehearse and perform appropriate selected works. They contribute 10-15 minutes to an open ensemble performance. This is also the first level of a pathway in ensemble and chamber performance. The module also hones important skills in group work. There are weekly seminars and workshops devoted to forming ensembles, selecting repertoire, rehearsal and critical peer performances. There are opportunities for students to conduct ensembles. Related work includes active listening, score reading, individual instrumental practice and organized ensemble rehearsal outside of class time. | ||||||
| MUS-10033 | Twentieth-Century Musics | C | C | 7.5 | 15 | |
| This module introduces students to the pluralistic diversity of musical-cultural moments that make up the music of the twentieth-century. It nurtures an understanding of the twentieth-century's most important musicians and musical texts and key critical arguments surrounding each body of work, including aesthetic and socio-historical contexts. Students are introduced to concepts of twentieth-century music history, including the clash of grand and micro-narrative approaches in recent critical thinking about this period, and the increasing desire (in HE) to address the plurality of twentieth-century musics rather than just Western art music. The module also introduces and puts into practice key study stills. Students learn to research and present introductions to topics on the lecture, making group presentations to the class. Students also learn to research and then write about an aspect of a topic, to reference written work correctly and to prepare an accurate and comprehensive bibliography. | ||||||
| MUS-10034 | Introduction to Composition | EP | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10034 | Introduction to Composition | O | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUT-10001 | Sonic Arts Repertoire | EA | C | 7.5 | 15 | |
| The module encompasses history and aesthetics of Electroacoustic music and sonic arts since the earliest developments after the Second World War up to the most current creative directions in sound-as-art, installation art, sonic sculpture, interactive systems, and sound design. It also tracks parallel developments and the application of related techniques in popular music of the same period. It explores the origins of the topics and examines the substantial range of forms offering a broader historical, cultural and artistic background. In addition to lectures, listening sessions are incorporated during which selected works are played. These sessions are followed by discussions concentrating on aspects of techniques, materials, structures and form. Such analytical enquiry is an indispensable introduction to the range of languages used by composers, sound and audiovisual artists in the last fifty years. This module will provide students both with and without a background in Music and Music Technology with a solid base for understanding and further study of the practical aspects and techniques of electroacoustic, audio-visual, and interactive creation. On successful completion of this unit, students should be able to understand, analyse, and write on electro-acoustic and audio-visual composition, sonic arts, interactive composition and other creative forms. | ||||||
| MUT-10003 | Composing With Sound | EA | C | 7.5 | 15 | |
| This module seeks to establish practical foundation for the use of studio techniques in future modules at level 2 and 3. It also enables students to engage with technical and aesthetic concerns arising when working creatively with digital audio technologies. At the end of the module students will be able to: demonstrate knowledge and recollection of basic empirical methods to work with audio material in a project studio; demonstrate comprehension and interpretation of basic concepts; apply methods in the construction of original sonic artefacts (Sonic Art work, sound idents, soundtracks for existing video). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| MUS-10035 | Instrumental Lessons | O | C | 7.5 | 15 | |
| The purpose of this module is to hone performance skills and develop technique on an instrument or voice. Students are also given the chance to engage with new and more challenging repertoire. Students work one to one with their specialist instrumental or vocal teacher on a range of performance skills with the help of technical exercises and $ůstudies&©. They will also work on appropriate repertoire pieces (normally drawn from the mainstream repertoire). The student should become familiar with the core repertoire of the instrument, and, in addition, should be introduced to examples drawn from more specialized areas (as appropriate). This is a 15-credit module that is runs throughout the year and is assessed at the end of semester 2. This module is a crucial element in the performance pathway, which runs throughout the degree programme. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| ~ | MUS-10031 | Active Listening | C | C | 7.5 | 15 |
| On this module, students learn to listen actively rather than passively to music, with a particular focus on hearing the relationship between form and content in music, and therefore being able to identify musical structures through the development of their aural skills. They also learn to identify a range of standard forms in music from a wide range of repertoires, and to learn the key features of those forms. Students are thereby introduced to the idea of active structural listening as opposed to passive or atomistic moment by moment listening. To begin reading around the topic, students may wish to consult Nicholas Cook's book A Guide to Musical Analysis (1987). | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10043 | Popular Music | O | C | 7.5 | 15 | |
| Why does every song in the charts sound the same? What is going on when Girls Aloud cover the Kaiser Chiefs, Kaiser Chiefs blast Girls Aloud for doing so, and then two years later the bands collaborate on a Christmas special? Is Plan B's 'Ill Manors' an authentic example of a musical subculture? What is the purpose of the popular music industry? Why do songs have lyrics, and lyrics accompaniments? What, or how, do pop songs mean? Why are they so central to our lives? On this module you will seek answers to questions like these by engaging with the socio-cultural and musical meanings of popular music and its culture industry. This module takes popular culture seriously by utilizing stimulating theoretical and philosophical approaches to its analysis and critique. It also employs innovative classroom activities, debates, group work, and individual and group assessments ranging from individual KLE assignments to a group analysis essay, in order to stimulate the development of critical competencies that will permit you better to understand the musical forms at the centre of contemporary culture. To begin reading around the topic, dip into Frith, Straw and Street, eds, The Cambridge Companion to Rock and Pop (CUP, 2001). | ||||||
| MUT-10004 | Sound Recording | EA | C | 7.5 | 15 | |
| This module is particularly useful for those students who already possess some experience in sound recording and/or with live PA equipment and/or mixing desks. Students who do not have such experience should contact the module leader to discuss admission to the module. The number of students admitted to this module is capped by studio resources availability. Please note that students taking this module are expected to possess, or acquire through self-study, at least a basic working knowledge of LogicPro or LogicExpress with regards to multi-track recording and mixing. Students will be required to organise a sound recording project; this include deciding what track(s) to record and find the musicians to play the various parts. Therefore, students must be able and willing to quickly and efficiently network with friends and peers to achieve that end. The module aims: to provide students with an opportunity to develop their technical skills in sound recording and music studio production; to establish a practical foundation for the use of sound recording techniques to be developed in future optional modules or project options at level 2 and 3; to engage with technical and aesthetic concerns related to sound quality in mixes. At the end of the module students will be able to: carry out simple field sound recording tasks using portable recorders.; carry out simple sound recording and mixing tasks in a sound recording studio; plan and implement a more substantial music production project in a sound recording studio. The module covers: microphone technologies and techniques; portable recorders technologies and techniques; field recording experiments; editing, technical improvement and message re-enforcement; recording studio technologies and techniques; planning and realisation of a sound recording and mixing project. | ||||||
| MUT-10005 | Surround Sound | EA | C | 7.5 | 15 | |
| At the end of the module students will be able to: - Identify basic empirical methods to work with surround sound in a project studio - Comprehend and interpret basic core concepts on surround sound - Create surrounds sound artefacts based on acquired techniques and observation of repertoire and real world sound-scapes - Apply sound diffusion concepts using a multi-loudspeaker system in a real concert space - Plan, prepare, rehears and deliver a public surround sound event The module deals with: technical fundamentals, aesthetic considerations, modern applications in music and cinema; the creation of a surround sound sonic landscape; surround sound mixes; spatial enhancement of sonic and musical discourse; the planning, practice and concert presentation of an acousmatic work using sound projection. | ||||||
| MUT-10006 | Audio Fundamentals | EA | E | 7.5 | 15 | |
| How does 'sound' work? What does it do to us? How do we handle it with the help of modern technologies? 'Audio Fundamentals' answers these fascinating questions establishing a theoretical basis on elements of acoustics, electro-acoustics and digital audio, all important topics that underpin creative applications of audio technologies in the recording and media industries. The module covers: Elements of Acoustics. Auditory perception. Analog audio and signal path. Frequency spectrum of musical and non-musical sounds. Digitisation of audio signals. Sampling. Digital Audio Workstations (hardware and software). Microphones. Loudspeakers. Lectures feature extensively multi-media aids and include sound examples and demonstrations on hardware and software. You can study, revise and prepare yourself for the end-of-module assessed quiz using a wealth of learning resources: the Keele Learning Environment, the Music Technology pool room / studios, the Library and at home. Formative quizzes are available throughout the semester to test your preparation for the final quiz. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-20020 | Music - Study Abroad I | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20021 | Music - Study Abroad II | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20040 | Orchestration | EP | C | 7.5 | 15 | |
| In this module students are introduced to techniques of scoring for instrumental media. Drawing on contemporary and historical repertoire of orchestral music the module studies the function of timbre as a structural determinant by analysis of scores and the application of practical skills. This module enhances the composition pathway in the music degree, complementing Intro to Composition (at level 1) and Intermediate Composition (at level 2). | ||||||
| MUS-20040 | Orchestration | O | C | 7.5 | 15 | |
| In this module students are introduced to techniques of scoring for instrumental media. Drawing on contemporary and historical repertoire of orchestral music the module studies the function of timbre as a structural determinant by analysis of scores and the application of practical skills. This module enhances the composition pathway in the music degree, complementing Intro to Composition (at level 1) and Intermediate Composition (at level 2). | ||||||
| ~ | MUS-20044 | Theory and Analysis | O | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20044 | Theory and Analysis | EP | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | O | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | EP | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20046 | Chamber Music | EP | C | 7.5 | 15 |
| The Chamber Music module offers the the opportunity for students to explore the great wealth of repertoire in the (mainly) Western classical canon and to establish musical partnerships which can then be extended and developed beyond the duration of the module. Students will be introduced to works suitable to the combinations of instruments (voices) that are registered on the module and they will have the opportunity to undertake further individual research into possible repertoire. The groups (once established) will be coached in their selected repertoire aiming to develop a uniformity of approach and tightness of ensemble whilst still encouraging the individual expressive voice of each member of the group to speak. In a series of workshop classes, groups will perform sections of or whole works to each other prompting group discussion on the musical, technical and stylistic issues which the performances generate. The module culminates with an assessed public recital in which each student will perform in one or more ensembles for at least 15 mins. | ||||||
| ~ | MUT-20001 | Audio-Visual Composition | EA | C | 7.5 | 15 |
| This module enable students to produce creative work that uses as combination of digital audio and digital video. This module deals with: a brief history and aesthetics of experimental digital audio-visual composition; the analysis of audio-visual works from selected repertoire. Students also learn to use: creative tools for synthesis and transformation of digital video footage and animations; creative tools for synthesis and transformation of digital audio materials; strategies to combine audio and video materials in a creatively coherent manner. | ||||||
| ~ | MUT-20003 | Meaning in Sonic Arts | EA | C | 7.5 | 15 |
| This module examines the analytical tools and approaches used to understand the construction and meaning of works of Sonic Art together with their relationship to wider artistic and social contexts and impulses. Topics studied include: semiological approaches to music as applied to Sonic Arts and related art forms; sound, meaning and mimesis; timbre, structure and discourse; social aspects concerning the reception and dissemination of sonic arts. | ||||||
| ~ | MUT-20005 | Interactive Realtime Composition | EA | C | 7.5 | 15 |
| In this module, students learn skills for interactive realtime processing including the use of software and its application to advanced live audio processing. A variety of time-domain and spectral-domain techniques are covered including: filtering, FFT (Fast Fourier Transform) based algorithms (convolution, vocoding, etc.), granularization of streaming sound, delay effects. The module also discusses technical and aesthetic aspects of the creative repertoire that use relevant realtime processing and live performance techniques as well as providing guidance in related creative project work(e.g. interactive composition, improvisation). | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-20032 | Indian Music | O | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20032 | Indian Music | EP | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20039 | Music in German Culture | O | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20039 | Music in German Culture | EP | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20041 | SOLO PERFORMANCE | O | C | 7.5 | 15 |
| Solo performance offers the opportunity for students to present a 20-minute assessed public recital. They will continue to receive the individual instrumental lessons and will regularly perform parts of their chosen repertoire in the workshop classes which make up a significant portion of the module. These class performances significantly help to increase the confidence of each student in playing in front of an audience. Students will discuss and work on a close examination and inculcation of the skills required for successful performance at an advanced level; attention is given to idomatic performance practice, style and interpretation and communication. Listening to and reflecting upon live and recorded performances is an integral part of the module; students will keep and submit a diary which offers their thoughts and reflections on the works and perfomances to which they are listenening. The assessed recital at the close of the module offers the opportunity for friends and family to attend and support, thereby creating a truely public concert. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | EP | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | O | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| MUS-20043 | Lyrics and the Popular Song | EP | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20043 | Lyrics and the Popular Song | O | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20049 | Music - Study Abroad V | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20050 | Music - Study Abroad VI | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| ~ | MUT-20002 | Creative Sound Design | EA | C | 7.5 | 15 |
| This module deals with the application of software to advanced audio-processing and sound-design using a variety of techniques (e.g. filtering, spectral domain techniques, time domain techniques, etc.). The module includes discussion of technical and aesthetic aspects of the uses of audio processing and sound design techniques; providing skills for creative project work, such as composition and sound design (e.g. design of a soundtrack for video). | ||||||
| MUT-20007 | Record Production in Theory and Practice | EA | C | 7.5 | 15 | |
| What is the essence of excellent record production? On this module, students will engage in theoretical reflection and practical studio work relevant to the production of recorded music. The lectures will cover a range of contemporary topics examining studio techniques and production aesthetics, including the pre-production/production/post-production chain that typically underlays the planning and realisation of a music track. Students will be required to complete two coursework projects directly tied to the practical and theoretical aspects of the module. In one, students will adapt approaches in literature discussed on the module, in order to analyse the aesthetic impact of production decisions and techniques on a track of their own choosing. In the other, students will organise and see through a sound recording, editing and mixing project. This will include deciding what musical parts need to be recorded and how, organising and directing the studio sessions, finding the 'session' musicians, working with them in the Music &Music Technology recording studios, carrying out the necessary editing, and then mixing and mastering, in order to arrive at a final track of a standard that could be included in a record release. | ||||||
| MUT-20008 | Introduction to Digital Signal Processing | EA | C | 7.5 | 15 | |
| This module aims to establish the theoretical base for music digital signal processing based on audio technologies currently employed for creative purposes. At the end of the module students will be able to:describe the main techniques for digitising and storing sound; understand the principles and means of implementing techniques for storage and processing; identify contemporary and established techniques for synthesis and processing. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30036 | Paris: 1870-1939 | O | M | 7.5 | 15 |
| This module introduces students to music and culture in France during the Third Republic (1870-1939). It addresses key issues of the period, such as national identity, patriotism, war, orientalism and how these impact on musical production in the period. The module is divided into distinct topics, including exoticism, high/low art, jazz, war and musical production, patriotism and nationalism and musical aesthetics after the Great War. It focuses on selected composers including Bizet, Debussy, Ravel, Satie and the group Les Six. It also introduces students to a range of repertoire by French and other composers, such as Stravinsky, Schoenberg and de Falla who were active in France in this period. The module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture and its engagement with politics, aesthetics and ideas. | ||||||
| ~ | MUS-30036 | Paris: 1870-1939 | EP | M | 7.5 | 15 |
| This module introduces students to music and culture in France during the Third Republic (1870-1939). It addresses key issues of the period, such as national identity, patriotism, war, orientalism and how these impact on musical production in the period. The module is divided into distinct topics, including exoticism, high/low art, jazz, war and musical production, patriotism and nationalism and musical aesthetics after the Great War. It focuses on selected composers including Bizet, Debussy, Ravel, Satie and the group Les Six. It also introduces students to a range of repertoire by French and other composers, such as Stravinsky, Schoenberg and de Falla who were active in France in this period. The module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture and its engagement with politics, aesthetics and ideas. | ||||||
| ~ | MUS-30037 | Paris Project - ISP | O | C | 7.5 | 15 |
| Paris Project enables students to build on the specialist training and learning they have undertaken or are undertaking in the module Paris: 1870-1939. They select a topic of their own choice in consultation with the module tutor. They are guided through their projects with individual supervision, as well as group work and some plenary sessions. They have the opportunity to present their work to their peers and to receive immediate feedback. Students submit a substantial project of 4000 words. | ||||||
| ~ | MUS-30037 | Paris Project - ISP | EP | C | 7.5 | 15 |
| Paris Project enables students to build on the specialist training and learning they have undertaken or are undertaking in the module Paris: 1870-1939. They select a topic of their own choice in consultation with the module tutor. They are guided through their projects with individual supervision, as well as group work and some plenary sessions. They have the opportunity to present their work to their peers and to receive immediate feedback. Students submit a substantial project of 4000 words. | ||||||
| ~ | MUS-30038 | Contextual Studies 1 | O | M | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on music ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. | ||||||
| ~ | MUS-30038 | Contextual Studies 1 | EP | M | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on music ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30044 | Approaches to Music Analysis | O | M | 7.5 | 15 | |
| How does one analyse music? What should a close reading of a composition look like? How do theory, analysis and critical interpretation interconnect? Is music theory and analysis a subdiscipline of musicology operating in an ivory tower, or a vital organ powering cultural history, composition, critical theory, and more? This module explores such questions and offers an opportunity closely to analyse a range of music, cover a wide range of issues pertaining to the nature of musical meaning, and to study critically examples of theory and analysis from the musicological literature. The module may be taken individually or as an ISP with the Semester 2 module 'Analysis Project'. Please note that the module includes a close engagement with music theory and analysis, and is therefore ideal for students with a keen interest in music criticism, theory and analysis. Students who have not taken MUS-20044 at Level 2 are welcome but encouraged to read a guide to music analysis in preparation for this module, such as Nicholas Cook's A Guide to Musical Analysis. Students who are concerned about their level of music theoretical knowledge are encouraged to ensure they are of ABRSM Grade 7 or Grade 8 theory standard or equivalent before beginning the module. | ||||||
| MUS-30044 | Approaches to Music Analysis | EP | M | 7.5 | 15 | |
| How does one analyse music? What should a close reading of a composition look like? How do theory, analysis and critical interpretation interconnect? Is music theory and analysis a subdiscipline of musicology operating in an ivory tower, or a vital organ powering cultural history, composition, critical theory, and more? This module explores such questions and offers an opportunity closely to analyse a range of music, cover a wide range of issues pertaining to the nature of musical meaning, and to study critically examples of theory and analysis from the musicological literature. The module may be taken individually or as an ISP with the Semester 2 module 'Analysis Project'. Please note that the module includes a close engagement with music theory and analysis, and is therefore ideal for students with a keen interest in music criticism, theory and analysis. Students who have not taken MUS-20044 at Level 2 are welcome but encouraged to read a guide to music analysis in preparation for this module, such as Nicholas Cook's A Guide to Musical Analysis. Students who are concerned about their level of music theoretical knowledge are encouraged to ensure they are of ABRSM Grade 7 or Grade 8 theory standard or equivalent before beginning the module. | ||||||
| # | PSY-30043 | Research in Music Psychology | EP | C | 7.5 | 15 |
| This module introduces students to the subject area of music psychology and to key approaches to research in this field, drawing on a range of existing studies at the forefront of the discipline. It is a highly practical module where students both participate in and design and conduct their own innovative group research studies in a range of topic areas at the core of the discipline. These include the effects of music on emotion, memory, and concentration, strong experiences of music, motivation for music, and other aspects of musical biography, preferred music and personality. The module develops students' understanding of research methods in psychology and enables them to apply this to a specific field, practising specific skills of analysis and presentation of findings in different written media. Students will be expected to participate fully in the research projects of themselves and other class members and 10% of the module is awarded for contribution to project work. Remaining assessments include an individual written critique of the research in the chosen topic area (60%) and a group poster presentation of the findings of the research (30%). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30031 | Dissertation I (Single Module) | O | C | 7.5 | 15 |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30031 | Dissertation I (Single Module) | EP | C | 7.5 | 15 |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30032 | Dissertation 2 - ISP | O | C | 15 | 30 |
| This module gives students the unique opportunity to produce a substantial piece of written work of 8000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the year to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30032 | Dissertation 2 - ISP | EP | C | 15 | 30 |
| This module gives students the unique opportunity to produce a substantial piece of written work of 8000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the year to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30041 | Composition 2 - ISP | O | C | 15 | 30 |
| This module gives guidance and provides supervision to enable the creation of a substantial portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30041 | Composition 2 - ISP | EP | C | 15 | 30 |
| This module gives guidance and provides supervision to enable the creation of a substantial portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30042 | Recital - ISP | O | C | 15 | 30 |
| This module allows students who have completed performance pathway modules at levels 1and 2 to devise and work on a recital programme of repertoire appropriate to their technical ability and stylistic interests; repertoire can include solo unaccompanied works, duos with piano accompaniment and /or larger chamber groupings. Individual instrumental lessons continue for students to supplement the modules seminar and tutorial sessions. Opportunities to perform part of the recital programme are plentiful and additionally students will be encouraged to perform publicly outside of the classes as part of their preparation. Students receive coaching from the module tutor and are required to perform regularly in front of their peers in a constructive and supportive environment. They will be recorded on several occasions in addition to the formative assessment no.3. The modules builds on performance qualities and skills developed at level 1and 2 , with the demanding 40min recital expected to equate to conservatoire diploma standard. | ||||||
| ~ | MUS-30042 | Recital - ISP | EP | C | 15 | 30 |
| This module allows students who have completed performance pathway modules at levels 1and 2 to devise and work on a recital programme of repertoire appropriate to their technical ability and stylistic interests; repertoire can include solo unaccompanied works, duos with piano accompaniment and /or larger chamber groupings. Individual instrumental lessons continue for students to supplement the modules seminar and tutorial sessions. Opportunities to perform part of the recital programme are plentiful and additionally students will be encouraged to perform publicly outside of the classes as part of their preparation. Students receive coaching from the module tutor and are required to perform regularly in front of their peers in a constructive and supportive environment. They will be recorded on several occasions in addition to the formative assessment no.3. The modules builds on performance qualities and skills developed at level 1and 2 , with the demanding 40min recital expected to equate to conservatoire diploma standard. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30039 | Contextual Studies 2 - ISP | EP | C | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on composers ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. Contextual Studies 2 builds on Contextual Studies 1 by providing a glimpse of what postgraduate work in the field would be like. | ||||||
| ~ | MUS-30039 | Contextual Studies 2 - ISP | O | C | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on composers ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. Contextual Studies 2 builds on Contextual Studies 1 by providing a glimpse of what postgraduate work in the field would be like. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30043 | Analysis Project | O | C | 7.5 | 15 | |
| This module is an opportunity to complete a substantial music analysis of a work of your own choosing, developing your particular musical interests and taking them to the next critical level. Students may take the module in one of two ways. 1. If you have taken Approaches to Music Analysis in Semester 1, the module can form part of an ISP. 2. Alternatively, you can take the module as a free-standing elective, but only IF you have successfully completed at least TWO of the following modules, and IF you use the module as an opportunity to develop a project based on approaches to music theory and/or analysis already investigated on one of these earlier modules: MUS-20045 Stravinsky, Russian Traditions, and Legacy / MUS-20044 Theory and Analysis / MUS-20039 Music in German Culture / MUS-20032 Indian Music / MUS-20043 Lyrics and the Popular Song / MUS-20047 Unheard Melodies. Building on approaches studied on the modules specified under either 1. or 2. above, Analysis Project provides students with an opportunity to create a detailed, theoretically-grounded, close musical analysis of a substantial musical work (or section thereof). Students on the module will draw on methods of analysis and criticism investigated on the relevant earlier module(s) to create their own interpretation of a musical text. You will gain experience from working with a group of fellow analysts and sharing your work in progress with them and the tutor, and develop a significant essay in music criticism that could serve as a summation of a strand of your work as a Music student, and/or as a springboard to further studies in music at postgraduate level. | ||||||
| MUS-30043 | Analysis Project | EP | C | 7.5 | 15 | |
| This module is an opportunity to complete a substantial music analysis of a work of your own choosing, developing your particular musical interests and taking them to the next critical level. Students may take the module in one of two ways. 1. If you have taken Approaches to Music Analysis in Semester 1, the module can form part of an ISP. 2. Alternatively, you can take the module as a free-standing elective, but only IF you have successfully completed at least TWO of the following modules, and IF you use the module as an opportunity to develop a project based on approaches to music theory and/or analysis already investigated on one of these earlier modules: MUS-20045 Stravinsky, Russian Traditions, and Legacy / MUS-20044 Theory and Analysis / MUS-20039 Music in German Culture / MUS-20032 Indian Music / MUS-20043 Lyrics and the Popular Song / MUS-20047 Unheard Melodies. Building on approaches studied on the modules specified under either 1. or 2. above, Analysis Project provides students with an opportunity to create a detailed, theoretically-grounded, close musical analysis of a substantial musical work (or section thereof). Students on the module will draw on methods of analysis and criticism investigated on the relevant earlier module(s) to create their own interpretation of a musical text. You will gain experience from working with a group of fellow analysts and sharing your work in progress with them and the tutor, and develop a significant essay in music criticism that could serve as a summation of a strand of your work as a Music student, and/or as a springboard to further studies in music at postgraduate level. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10030 | Ensemble Performance | O | C | 7.5 | 15 | |
| Students have the opportunity and coaching to form ensembles and select and investigate appropriate works. They also develop knowledge of ensemble repertoire of all periods, with the opportunity to rehearse and perform appropriate selected works. They contribute 10-15 minutes to an open ensemble performance. This is also the first level of a pathway in ensemble and chamber performance. The module also hones important skills in group work. There are weekly seminars and workshops devoted to forming ensembles, selecting repertoire, rehearsal and critical peer performances. There are opportunities for students to conduct ensembles. Related work includes active listening, score reading, individual instrumental practice and organized ensemble rehearsal outside of class time. | ||||||
| MUS-10033 | Twentieth-Century Musics | C | C | 7.5 | 15 | |
| This module introduces students to the pluralistic diversity of musical-cultural moments that make up the music of the twentieth-century. It nurtures an understanding of the twentieth-century's most important musicians and musical texts and key critical arguments surrounding each body of work, including aesthetic and socio-historical contexts. Students are introduced to concepts of twentieth-century music history, including the clash of grand and micro-narrative approaches in recent critical thinking about this period, and the increasing desire (in HE) to address the plurality of twentieth-century musics rather than just Western art music. The module also introduces and puts into practice key study stills. Students learn to research and present introductions to topics on the lecture, making group presentations to the class. Students also learn to research and then write about an aspect of a topic, to reference written work correctly and to prepare an accurate and comprehensive bibliography. | ||||||
| MUS-10034 | Introduction to Composition | EP | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10034 | Introduction to Composition | O | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUT-10001 | Sonic Arts Repertoire | EA | C | 7.5 | 15 | |
| The module encompasses history and aesthetics of Electroacoustic music and sonic arts since the earliest developments after the Second World War up to the most current creative directions in sound-as-art, installation art, sonic sculpture, interactive systems, and sound design. It also tracks parallel developments and the application of related techniques in popular music of the same period. It explores the origins of the topics and examines the substantial range of forms offering a broader historical, cultural and artistic background. In addition to lectures, listening sessions are incorporated during which selected works are played. These sessions are followed by discussions concentrating on aspects of techniques, materials, structures and form. Such analytical enquiry is an indispensable introduction to the range of languages used by composers, sound and audiovisual artists in the last fifty years. This module will provide students both with and without a background in Music and Music Technology with a solid base for understanding and further study of the practical aspects and techniques of electroacoustic, audio-visual, and interactive creation. On successful completion of this unit, students should be able to understand, analyse, and write on electro-acoustic and audio-visual composition, sonic arts, interactive composition and other creative forms. | ||||||
| MUT-10003 | Composing With Sound | EA | C | 7.5 | 15 | |
| This module seeks to establish practical foundation for the use of studio techniques in future modules at level 2 and 3. It also enables students to engage with technical and aesthetic concerns arising when working creatively with digital audio technologies. At the end of the module students will be able to: demonstrate knowledge and recollection of basic empirical methods to work with audio material in a project studio; demonstrate comprehension and interpretation of basic concepts; apply methods in the construction of original sonic artefacts (Sonic Art work, sound idents, soundtracks for existing video). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| MUS-10035 | Instrumental Lessons | EP | C | 7.5 | 15 | |
| The purpose of this module is to hone performance skills and develop technique on an instrument or voice. Students are also given the chance to engage with new and more challenging repertoire. Students work one to one with their specialist instrumental or vocal teacher on a range of performance skills with the help of technical exercises and $ůstudies&©. They will also work on appropriate repertoire pieces (normally drawn from the mainstream repertoire). The student should become familiar with the core repertoire of the instrument, and, in addition, should be introduced to examples drawn from more specialized areas (as appropriate). This is a 15-credit module that is runs throughout the year and is assessed at the end of semester 2. This module is a crucial element in the performance pathway, which runs throughout the degree programme. | ||||||
| MUS-10035 | Instrumental Lessons | O | C | 7.5 | 15 | |
| The purpose of this module is to hone performance skills and develop technique on an instrument or voice. Students are also given the chance to engage with new and more challenging repertoire. Students work one to one with their specialist instrumental or vocal teacher on a range of performance skills with the help of technical exercises and $ůstudies&©. They will also work on appropriate repertoire pieces (normally drawn from the mainstream repertoire). The student should become familiar with the core repertoire of the instrument, and, in addition, should be introduced to examples drawn from more specialized areas (as appropriate). This is a 15-credit module that is runs throughout the year and is assessed at the end of semester 2. This module is a crucial element in the performance pathway, which runs throughout the degree programme. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| ~ | MUS-10031 | Active Listening | C | C | 7.5 | 15 |
| On this module, students learn to listen actively rather than passively to music, with a particular focus on hearing the relationship between form and content in music, and therefore being able to identify musical structures through the development of their aural skills. They also learn to identify a range of standard forms in music from a wide range of repertoires, and to learn the key features of those forms. Students are thereby introduced to the idea of active structural listening as opposed to passive or atomistic moment by moment listening. To begin reading around the topic, students may wish to consult Nicholas Cook's book A Guide to Musical Analysis (1987). | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10043 | Popular Music | O | C | 7.5 | 15 | |
| Why does every song in the charts sound the same? What is going on when Girls Aloud cover the Kaiser Chiefs, Kaiser Chiefs blast Girls Aloud for doing so, and then two years later the bands collaborate on a Christmas special? Is Plan B's 'Ill Manors' an authentic example of a musical subculture? What is the purpose of the popular music industry? Why do songs have lyrics, and lyrics accompaniments? What, or how, do pop songs mean? Why are they so central to our lives? On this module you will seek answers to questions like these by engaging with the socio-cultural and musical meanings of popular music and its culture industry. This module takes popular culture seriously by utilizing stimulating theoretical and philosophical approaches to its analysis and critique. It also employs innovative classroom activities, debates, group work, and individual and group assessments ranging from individual KLE assignments to a group analysis essay, in order to stimulate the development of critical competencies that will permit you better to understand the musical forms at the centre of contemporary culture. To begin reading around the topic, dip into Frith, Straw and Street, eds, The Cambridge Companion to Rock and Pop (CUP, 2001). | ||||||
| MUT-10004 | Sound Recording | EA | C | 7.5 | 15 | |
| This module is particularly useful for those students who already possess some experience in sound recording and/or with live PA equipment and/or mixing desks. Students who do not have such experience should contact the module leader to discuss admission to the module. The number of students admitted to this module is capped by studio resources availability. Please note that students taking this module are expected to possess, or acquire through self-study, at least a basic working knowledge of LogicPro or LogicExpress with regards to multi-track recording and mixing. Students will be required to organise a sound recording project; this include deciding what track(s) to record and find the musicians to play the various parts. Therefore, students must be able and willing to quickly and efficiently network with friends and peers to achieve that end. The module aims: to provide students with an opportunity to develop their technical skills in sound recording and music studio production; to establish a practical foundation for the use of sound recording techniques to be developed in future optional modules or project options at level 2 and 3; to engage with technical and aesthetic concerns related to sound quality in mixes. At the end of the module students will be able to: carry out simple field sound recording tasks using portable recorders.; carry out simple sound recording and mixing tasks in a sound recording studio; plan and implement a more substantial music production project in a sound recording studio. The module covers: microphone technologies and techniques; portable recorders technologies and techniques; field recording experiments; editing, technical improvement and message re-enforcement; recording studio technologies and techniques; planning and realisation of a sound recording and mixing project. | ||||||
| MUT-10005 | Surround Sound | EA | C | 7.5 | 15 | |
| At the end of the module students will be able to: - Identify basic empirical methods to work with surround sound in a project studio - Comprehend and interpret basic core concepts on surround sound - Create surrounds sound artefacts based on acquired techniques and observation of repertoire and real world sound-scapes - Apply sound diffusion concepts using a multi-loudspeaker system in a real concert space - Plan, prepare, rehears and deliver a public surround sound event The module deals with: technical fundamentals, aesthetic considerations, modern applications in music and cinema; the creation of a surround sound sonic landscape; surround sound mixes; spatial enhancement of sonic and musical discourse; the planning, practice and concert presentation of an acousmatic work using sound projection. | ||||||
| MUT-10006 | Audio Fundamentals | EA | E | 7.5 | 15 | |
| How does 'sound' work? What does it do to us? How do we handle it with the help of modern technologies? 'Audio Fundamentals' answers these fascinating questions establishing a theoretical basis on elements of acoustics, electro-acoustics and digital audio, all important topics that underpin creative applications of audio technologies in the recording and media industries. The module covers: Elements of Acoustics. Auditory perception. Analog audio and signal path. Frequency spectrum of musical and non-musical sounds. Digitisation of audio signals. Sampling. Digital Audio Workstations (hardware and software). Microphones. Loudspeakers. Lectures feature extensively multi-media aids and include sound examples and demonstrations on hardware and software. You can study, revise and prepare yourself for the end-of-module assessed quiz using a wealth of learning resources: the Keele Learning Environment, the Music Technology pool room / studios, the Library and at home. Formative quizzes are available throughout the semester to test your preparation for the final quiz. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-20020 | Music - Study Abroad I | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20021 | Music - Study Abroad II | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| ~ | MUS-20044 | Theory and Analysis | O | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20044 | Theory and Analysis | EP | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | O | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | EP | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20046 | Chamber Music | EP | C | 7.5 | 15 |
| The Chamber Music module offers the the opportunity for students to explore the great wealth of repertoire in the (mainly) Western classical canon and to establish musical partnerships which can then be extended and developed beyond the duration of the module. Students will be introduced to works suitable to the combinations of instruments (voices) that are registered on the module and they will have the opportunity to undertake further individual research into possible repertoire. The groups (once established) will be coached in their selected repertoire aiming to develop a uniformity of approach and tightness of ensemble whilst still encouraging the individual expressive voice of each member of the group to speak. In a series of workshop classes, groups will perform sections of or whole works to each other prompting group discussion on the musical, technical and stylistic issues which the performances generate. The module culminates with an assessed public recital in which each student will perform in one or more ensembles for at least 15 mins. | ||||||
| ~ | MUT-20001 | Audio-Visual Composition | EA | C | 7.5 | 15 |
| This module enable students to produce creative work that uses as combination of digital audio and digital video. This module deals with: a brief history and aesthetics of experimental digital audio-visual composition; the analysis of audio-visual works from selected repertoire. Students also learn to use: creative tools for synthesis and transformation of digital video footage and animations; creative tools for synthesis and transformation of digital audio materials; strategies to combine audio and video materials in a creatively coherent manner. | ||||||
| ~ | MUT-20003 | Meaning in Sonic Arts | EA | C | 7.5 | 15 |
| This module examines the analytical tools and approaches used to understand the construction and meaning of works of Sonic Art together with their relationship to wider artistic and social contexts and impulses. Topics studied include: semiological approaches to music as applied to Sonic Arts and related art forms; sound, meaning and mimesis; timbre, structure and discourse; social aspects concerning the reception and dissemination of sonic arts. | ||||||
| ~ | MUT-20005 | Interactive Realtime Composition | EA | C | 7.5 | 15 |
| In this module, students learn skills for interactive realtime processing including the use of software and its application to advanced live audio processing. A variety of time-domain and spectral-domain techniques are covered including: filtering, FFT (Fast Fourier Transform) based algorithms (convolution, vocoding, etc.), granularization of streaming sound, delay effects. The module also discusses technical and aesthetic aspects of the creative repertoire that use relevant realtime processing and live performance techniques as well as providing guidance in related creative project work(e.g. interactive composition, improvisation). | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-20032 | Indian Music | O | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20032 | Indian Music | EP | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20039 | Music in German Culture | O | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20039 | Music in German Culture | EP | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20041 | SOLO PERFORMANCE | EP | C | 7.5 | 15 |
| Solo performance offers the opportunity for students to present a 20-minute assessed public recital. They will continue to receive the individual instrumental lessons and will regularly perform parts of their chosen repertoire in the workshop classes which make up a significant portion of the module. These class performances significantly help to increase the confidence of each student in playing in front of an audience. Students will discuss and work on a close examination and inculcation of the skills required for successful performance at an advanced level; attention is given to idomatic performance practice, style and interpretation and communication. Listening to and reflecting upon live and recorded performances is an integral part of the module; students will keep and submit a diary which offers their thoughts and reflections on the works and perfomances to which they are listenening. The assessed recital at the close of the module offers the opportunity for friends and family to attend and support, thereby creating a truely public concert. | ||||||
| ~ | MUS-20041 | SOLO PERFORMANCE | O | C | 7.5 | 15 |
| Solo performance offers the opportunity for students to present a 20-minute assessed public recital. They will continue to receive the individual instrumental lessons and will regularly perform parts of their chosen repertoire in the workshop classes which make up a significant portion of the module. These class performances significantly help to increase the confidence of each student in playing in front of an audience. Students will discuss and work on a close examination and inculcation of the skills required for successful performance at an advanced level; attention is given to idomatic performance practice, style and interpretation and communication. Listening to and reflecting upon live and recorded performances is an integral part of the module; students will keep and submit a diary which offers their thoughts and reflections on the works and perfomances to which they are listenening. The assessed recital at the close of the module offers the opportunity for friends and family to attend and support, thereby creating a truely public concert. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | EP | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | O | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| MUS-20043 | Lyrics and the Popular Song | EP | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20043 | Lyrics and the Popular Song | O | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20049 | Music - Study Abroad V | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20050 | Music - Study Abroad VI | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| ~ | MUT-20002 | Creative Sound Design | EA | C | 7.5 | 15 |
| This module deals with the application of software to advanced audio-processing and sound-design using a variety of techniques (e.g. filtering, spectral domain techniques, time domain techniques, etc.). The module includes discussion of technical and aesthetic aspects of the uses of audio processing and sound design techniques; providing skills for creative project work, such as composition and sound design (e.g. design of a soundtrack for video). | ||||||
| MUT-20007 | Record Production in Theory and Practice | EA | C | 7.5 | 15 | |
| What is the essence of excellent record production? On this module, students will engage in theoretical reflection and practical studio work relevant to the production of recorded music. The lectures will cover a range of contemporary topics examining studio techniques and production aesthetics, including the pre-production/production/post-production chain that typically underlays the planning and realisation of a music track. Students will be required to complete two coursework projects directly tied to the practical and theoretical aspects of the module. In one, students will adapt approaches in literature discussed on the module, in order to analyse the aesthetic impact of production decisions and techniques on a track of their own choosing. In the other, students will organise and see through a sound recording, editing and mixing project. This will include deciding what musical parts need to be recorded and how, organising and directing the studio sessions, finding the 'session' musicians, working with them in the Music &Music Technology recording studios, carrying out the necessary editing, and then mixing and mastering, in order to arrive at a final track of a standard that could be included in a record release. | ||||||
| MUT-20008 | Introduction to Digital Signal Processing | EA | C | 7.5 | 15 | |
| This module aims to establish the theoretical base for music digital signal processing based on audio technologies currently employed for creative purposes. At the end of the module students will be able to:describe the main techniques for digitising and storing sound; understand the principles and means of implementing techniques for storage and processing; identify contemporary and established techniques for synthesis and processing. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30037 | Paris Project - ISP | EP | C | 7.5 | 15 |
| Paris Project enables students to build on the specialist training and learning they have undertaken or are undertaking in the module Paris: 1870-1939. They select a topic of their own choice in consultation with the module tutor. They are guided through their projects with individual supervision, as well as group work and some plenary sessions. They have the opportunity to present their work to their peers and to receive immediate feedback. Students submit a substantial project of 4000 words. | ||||||
| ~ | MUS-30038 | Contextual Studies 1 | EP | M | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on music ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30044 | Approaches to Music Analysis | EP | M | 7.5 | 15 | |
| How does one analyse music? What should a close reading of a composition look like? How do theory, analysis and critical interpretation interconnect? Is music theory and analysis a subdiscipline of musicology operating in an ivory tower, or a vital organ powering cultural history, composition, critical theory, and more? This module explores such questions and offers an opportunity closely to analyse a range of music, cover a wide range of issues pertaining to the nature of musical meaning, and to study critically examples of theory and analysis from the musicological literature. The module may be taken individually or as an ISP with the Semester 2 module 'Analysis Project'. Please note that the module includes a close engagement with music theory and analysis, and is therefore ideal for students with a keen interest in music criticism, theory and analysis. Students who have not taken MUS-20044 at Level 2 are welcome but encouraged to read a guide to music analysis in preparation for this module, such as Nicholas Cook's A Guide to Musical Analysis. Students who are concerned about their level of music theoretical knowledge are encouraged to ensure they are of ABRSM Grade 7 or Grade 8 theory standard or equivalent before beginning the module. | ||||||
| # | PSY-30043 | Research in Music Psychology | EP | C | 7.5 | 15 |
| This module introduces students to the subject area of music psychology and to key approaches to research in this field, drawing on a range of existing studies at the forefront of the discipline. It is a highly practical module where students both participate in and design and conduct their own innovative group research studies in a range of topic areas at the core of the discipline. These include the effects of music on emotion, memory, and concentration, strong experiences of music, motivation for music, and other aspects of musical biography, preferred music and personality. The module develops students' understanding of research methods in psychology and enables them to apply this to a specific field, practising specific skills of analysis and presentation of findings in different written media. Students will be expected to participate fully in the research projects of themselves and other class members and 10% of the module is awarded for contribution to project work. Remaining assessments include an individual written critique of the research in the chosen topic area (60%) and a group poster presentation of the findings of the research (30%). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30031 | Dissertation I (Single Module) | EP | C | 7.5 | 15 |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30039 | Contextual Studies 2 - ISP | EP | C | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on composers ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. Contextual Studies 2 builds on Contextual Studies 1 by providing a glimpse of what postgraduate work in the field would be like. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30043 | Analysis Project | EP | C | 7.5 | 15 | |
| This module is an opportunity to complete a substantial music analysis of a work of your own choosing, developing your particular musical interests and taking them to the next critical level. Students may take the module in one of two ways. 1. If you have taken Approaches to Music Analysis in Semester 1, the module can form part of an ISP. 2. Alternatively, you can take the module as a free-standing elective, but only IF you have successfully completed at least TWO of the following modules, and IF you use the module as an opportunity to develop a project based on approaches to music theory and/or analysis already investigated on one of these earlier modules: MUS-20045 Stravinsky, Russian Traditions, and Legacy / MUS-20044 Theory and Analysis / MUS-20039 Music in German Culture / MUS-20032 Indian Music / MUS-20043 Lyrics and the Popular Song / MUS-20047 Unheard Melodies. Building on approaches studied on the modules specified under either 1. or 2. above, Analysis Project provides students with an opportunity to create a detailed, theoretically-grounded, close musical analysis of a substantial musical work (or section thereof). Students on the module will draw on methods of analysis and criticism investigated on the relevant earlier module(s) to create their own interpretation of a musical text. You will gain experience from working with a group of fellow analysts and sharing your work in progress with them and the tutor, and develop a significant essay in music criticism that could serve as a summation of a strand of your work as a Music student, and/or as a springboard to further studies in music at postgraduate level. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10029 | Orchestral Studies | O | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10030 | Ensemble Performance | EP | C | 7.5 | 15 | |
| Students have the opportunity and coaching to form ensembles and select and investigate appropriate works. They also develop knowledge of ensemble repertoire of all periods, with the opportunity to rehearse and perform appropriate selected works. They contribute 10-15 minutes to an open ensemble performance. This is also the first level of a pathway in ensemble and chamber performance. The module also hones important skills in group work. There are weekly seminars and workshops devoted to forming ensembles, selecting repertoire, rehearsal and critical peer performances. There are opportunities for students to conduct ensembles. Related work includes active listening, score reading, individual instrumental practice and organized ensemble rehearsal outside of class time. | ||||||
| MUS-10030 | Ensemble Performance | O | C | 7.5 | 15 | |
| Students have the opportunity and coaching to form ensembles and select and investigate appropriate works. They also develop knowledge of ensemble repertoire of all periods, with the opportunity to rehearse and perform appropriate selected works. They contribute 10-15 minutes to an open ensemble performance. This is also the first level of a pathway in ensemble and chamber performance. The module also hones important skills in group work. There are weekly seminars and workshops devoted to forming ensembles, selecting repertoire, rehearsal and critical peer performances. There are opportunities for students to conduct ensembles. Related work includes active listening, score reading, individual instrumental practice and organized ensemble rehearsal outside of class time. | ||||||
| MUS-10033 | Twentieth-Century Musics | C | C | 7.5 | 15 | |
| This module introduces students to the pluralistic diversity of musical-cultural moments that make up the music of the twentieth-century. It nurtures an understanding of the twentieth-century's most important musicians and musical texts and key critical arguments surrounding each body of work, including aesthetic and socio-historical contexts. Students are introduced to concepts of twentieth-century music history, including the clash of grand and micro-narrative approaches in recent critical thinking about this period, and the increasing desire (in HE) to address the plurality of twentieth-century musics rather than just Western art music. The module also introduces and puts into practice key study stills. Students learn to research and present introductions to topics on the lecture, making group presentations to the class. Students also learn to research and then write about an aspect of a topic, to reference written work correctly and to prepare an accurate and comprehensive bibliography. | ||||||
| MUS-10034 | Introduction to Composition | EP | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10034 | Introduction to Composition | O | C | 7.5 | 15 | |
| This module is a vital component of the pathway in Composition that runs throughout the Music course. It also complements the Twentieth Century Module. Students engage with technical and aesthetic issues relating to the composition of predominantly instrumental and vocal music and to acquaint students with a specific issues relating to contemporary western art music. They are introduced to various strategies for generating and organising musical materials, focusing on pitch, duration, dynamics and timbre. Students undertake technical and analytical exercises in addition to composing original pieces. They are also involved in hearing some of their creative work performed in workshops. | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10036 | Choral Studies | O | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUT-10001 | Sonic Arts Repertoire | C | C | 7.5 | 15 | |
| The module encompasses history and aesthetics of Electroacoustic music and sonic arts since the earliest developments after the Second World War up to the most current creative directions in sound-as-art, installation art, sonic sculpture, interactive systems, and sound design. It also tracks parallel developments and the application of related techniques in popular music of the same period. It explores the origins of the topics and examines the substantial range of forms offering a broader historical, cultural and artistic background. In addition to lectures, listening sessions are incorporated during which selected works are played. These sessions are followed by discussions concentrating on aspects of techniques, materials, structures and form. Such analytical enquiry is an indispensable introduction to the range of languages used by composers, sound and audiovisual artists in the last fifty years. This module will provide students both with and without a background in Music and Music Technology with a solid base for understanding and further study of the practical aspects and techniques of electroacoustic, audio-visual, and interactive creation. On successful completion of this unit, students should be able to understand, analyse, and write on electro-acoustic and audio-visual composition, sonic arts, interactive composition and other creative forms. | ||||||
| MUT-10003 | Composing With Sound | EP | C | 7.5 | 15 | |
| This module seeks to establish practical foundation for the use of studio techniques in future modules at level 2 and 3. It also enables students to engage with technical and aesthetic concerns arising when working creatively with digital audio technologies. At the end of the module students will be able to: demonstrate knowledge and recollection of basic empirical methods to work with audio material in a project studio; demonstrate comprehension and interpretation of basic concepts; apply methods in the construction of original sonic artefacts (Sonic Art work, sound idents, soundtracks for existing video). | ||||||
| MUT-10003 | Composing With Sound | O | C | 7.5 | 15 | |
| This module seeks to establish practical foundation for the use of studio techniques in future modules at level 2 and 3. It also enables students to engage with technical and aesthetic concerns arising when working creatively with digital audio technologies. At the end of the module students will be able to: demonstrate knowledge and recollection of basic empirical methods to work with audio material in a project studio; demonstrate comprehension and interpretation of basic concepts; apply methods in the construction of original sonic artefacts (Sonic Art work, sound idents, soundtracks for existing video). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| MUS-10035 | Instrumental Lessons | EP | C | 7.5 | 15 | |
| The purpose of this module is to hone performance skills and develop technique on an instrument or voice. Students are also given the chance to engage with new and more challenging repertoire. Students work one to one with their specialist instrumental or vocal teacher on a range of performance skills with the help of technical exercises and $ůstudies&©. They will also work on appropriate repertoire pieces (normally drawn from the mainstream repertoire). The student should become familiar with the core repertoire of the instrument, and, in addition, should be introduced to examples drawn from more specialized areas (as appropriate). This is a 15-credit module that is runs throughout the year and is assessed at the end of semester 2. This module is a crucial element in the performance pathway, which runs throughout the degree programme. | ||||||
| MUS-10035 | Instrumental Lessons | O | C | 7.5 | 15 | |
| The purpose of this module is to hone performance skills and develop technique on an instrument or voice. Students are also given the chance to engage with new and more challenging repertoire. Students work one to one with their specialist instrumental or vocal teacher on a range of performance skills with the help of technical exercises and $ůstudies&©. They will also work on appropriate repertoire pieces (normally drawn from the mainstream repertoire). The student should become familiar with the core repertoire of the instrument, and, in addition, should be introduced to examples drawn from more specialized areas (as appropriate). This is a 15-credit module that is runs throughout the year and is assessed at the end of semester 2. This module is a crucial element in the performance pathway, which runs throughout the degree programme. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| MUS-10029 | Orchestral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10029 | Orchestral Studies | O | C | 7.5 | 15 | |
| This module enables students to develop instrumental skills within an orchestral or concert band framework. It encourages students to reflect and develop their ensemble playing skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| ~ | MUS-10031 | Active Listening | C | C | 7.5 | 15 |
| On this module, students learn to listen actively rather than passively to music, with a particular focus on hearing the relationship between form and content in music, and therefore being able to identify musical structures through the development of their aural skills. They also learn to identify a range of standard forms in music from a wide range of repertoires, and to learn the key features of those forms. Students are thereby introduced to the idea of active structural listening as opposed to passive or atomistic moment by moment listening. To begin reading around the topic, students may wish to consult Nicholas Cook's book A Guide to Musical Analysis (1987). | ||||||
| MUS-10036 | Choral Studies | EP | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10036 | Choral Studies | O | C | 7.5 | 15 | |
| This module enables students to develop vocal skills within a choral framework. It encourages students to reflect and develop their ensemble skills, and gives them the opportunity to work towards large-scale public concerts. The module opens up the opportunity to work at a high level with a professional conductor to all students with the appropriate skills and experience. | ||||||
| MUS-10043 | Popular Music | EP | C | 7.5 | 15 | |
| Why does every song in the charts sound the same? What is going on when Girls Aloud cover the Kaiser Chiefs, Kaiser Chiefs blast Girls Aloud for doing so, and then two years later the bands collaborate on a Christmas special? Is Plan B's 'Ill Manors' an authentic example of a musical subculture? What is the purpose of the popular music industry? Why do songs have lyrics, and lyrics accompaniments? What, or how, do pop songs mean? Why are they so central to our lives? On this module you will seek answers to questions like these by engaging with the socio-cultural and musical meanings of popular music and its culture industry. This module takes popular culture seriously by utilizing stimulating theoretical and philosophical approaches to its analysis and critique. It also employs innovative classroom activities, debates, group work, and individual and group assessments ranging from individual KLE assignments to a group analysis essay, in order to stimulate the development of critical competencies that will permit you better to understand the musical forms at the centre of contemporary culture. To begin reading around the topic, dip into Frith, Straw and Street, eds, The Cambridge Companion to Rock and Pop (CUP, 2001). | ||||||
| MUS-10043 | Popular Music | O | C | 7.5 | 15 | |
| Why does every song in the charts sound the same? What is going on when Girls Aloud cover the Kaiser Chiefs, Kaiser Chiefs blast Girls Aloud for doing so, and then two years later the bands collaborate on a Christmas special? Is Plan B's 'Ill Manors' an authentic example of a musical subculture? What is the purpose of the popular music industry? Why do songs have lyrics, and lyrics accompaniments? What, or how, do pop songs mean? Why are they so central to our lives? On this module you will seek answers to questions like these by engaging with the socio-cultural and musical meanings of popular music and its culture industry. This module takes popular culture seriously by utilizing stimulating theoretical and philosophical approaches to its analysis and critique. It also employs innovative classroom activities, debates, group work, and individual and group assessments ranging from individual KLE assignments to a group analysis essay, in order to stimulate the development of critical competencies that will permit you better to understand the musical forms at the centre of contemporary culture. To begin reading around the topic, dip into Frith, Straw and Street, eds, The Cambridge Companion to Rock and Pop (CUP, 2001). | ||||||
| MUT-10004 | Sound Recording | EP | C | 7.5 | 15 | |
| This module is particularly useful for those students who already possess some experience in sound recording and/or with live PA equipment and/or mixing desks. Students who do not have such experience should contact the module leader to discuss admission to the module. The number of students admitted to this module is capped by studio resources availability. Please note that students taking this module are expected to possess, or acquire through self-study, at least a basic working knowledge of LogicPro or LogicExpress with regards to multi-track recording and mixing. Students will be required to organise a sound recording project; this include deciding what track(s) to record and find the musicians to play the various parts. Therefore, students must be able and willing to quickly and efficiently network with friends and peers to achieve that end. The module aims: to provide students with an opportunity to develop their technical skills in sound recording and music studio production; to establish a practical foundation for the use of sound recording techniques to be developed in future optional modules or project options at level 2 and 3; to engage with technical and aesthetic concerns related to sound quality in mixes. At the end of the module students will be able to: carry out simple field sound recording tasks using portable recorders.; carry out simple sound recording and mixing tasks in a sound recording studio; plan and implement a more substantial music production project in a sound recording studio. The module covers: microphone technologies and techniques; portable recorders technologies and techniques; field recording experiments; editing, technical improvement and message re-enforcement; recording studio technologies and techniques; planning and realisation of a sound recording and mixing project. | ||||||
| MUT-10004 | Sound Recording | O | C | 7.5 | 15 | |
| This module is particularly useful for those students who already possess some experience in sound recording and/or with live PA equipment and/or mixing desks. Students who do not have such experience should contact the module leader to discuss admission to the module. The number of students admitted to this module is capped by studio resources availability. Please note that students taking this module are expected to possess, or acquire through self-study, at least a basic working knowledge of LogicPro or LogicExpress with regards to multi-track recording and mixing. Students will be required to organise a sound recording project; this include deciding what track(s) to record and find the musicians to play the various parts. Therefore, students must be able and willing to quickly and efficiently network with friends and peers to achieve that end. The module aims: to provide students with an opportunity to develop their technical skills in sound recording and music studio production; to establish a practical foundation for the use of sound recording techniques to be developed in future optional modules or project options at level 2 and 3; to engage with technical and aesthetic concerns related to sound quality in mixes. At the end of the module students will be able to: carry out simple field sound recording tasks using portable recorders.; carry out simple sound recording and mixing tasks in a sound recording studio; plan and implement a more substantial music production project in a sound recording studio. The module covers: microphone technologies and techniques; portable recorders technologies and techniques; field recording experiments; editing, technical improvement and message re-enforcement; recording studio technologies and techniques; planning and realisation of a sound recording and mixing project. | ||||||
| MUT-10005 | Surround Sound | EA | C | 7.5 | 15 | |
| At the end of the module students will be able to: - Identify basic empirical methods to work with surround sound in a project studio - Comprehend and interpret basic core concepts on surround sound - Create surrounds sound artefacts based on acquired techniques and observation of repertoire and real world sound-scapes - Apply sound diffusion concepts using a multi-loudspeaker system in a real concert space - Plan, prepare, rehears and deliver a public surround sound event The module deals with: technical fundamentals, aesthetic considerations, modern applications in music and cinema; the creation of a surround sound sonic landscape; surround sound mixes; spatial enhancement of sonic and musical discourse; the planning, practice and concert presentation of an acousmatic work using sound projection. | ||||||
| MUT-10005 | Surround Sound | O | C | 7.5 | 15 | |
| At the end of the module students will be able to: - Identify basic empirical methods to work with surround sound in a project studio - Comprehend and interpret basic core concepts on surround sound - Create surrounds sound artefacts based on acquired techniques and observation of repertoire and real world sound-scapes - Apply sound diffusion concepts using a multi-loudspeaker system in a real concert space - Plan, prepare, rehears and deliver a public surround sound event The module deals with: technical fundamentals, aesthetic considerations, modern applications in music and cinema; the creation of a surround sound sonic landscape; surround sound mixes; spatial enhancement of sonic and musical discourse; the planning, practice and concert presentation of an acousmatic work using sound projection. | ||||||
| MUT-10006 | Audio Fundamentals | EP | E | 7.5 | 15 | |
| How does 'sound' work? What does it do to us? How do we handle it with the help of modern technologies? 'Audio Fundamentals' answers these fascinating questions establishing a theoretical basis on elements of acoustics, electro-acoustics and digital audio, all important topics that underpin creative applications of audio technologies in the recording and media industries. The module covers: Elements of Acoustics. Auditory perception. Analog audio and signal path. Frequency spectrum of musical and non-musical sounds. Digitisation of audio signals. Sampling. Digital Audio Workstations (hardware and software). Microphones. Loudspeakers. Lectures feature extensively multi-media aids and include sound examples and demonstrations on hardware and software. You can study, revise and prepare yourself for the end-of-module assessed quiz using a wealth of learning resources: the Keele Learning Environment, the Music Technology pool room / studios, the Library and at home. Formative quizzes are available throughout the semester to test your preparation for the final quiz. | ||||||
| MUT-10006 | Audio Fundamentals | O | E | 7.5 | 15 | |
| How does 'sound' work? What does it do to us? How do we handle it with the help of modern technologies? 'Audio Fundamentals' answers these fascinating questions establishing a theoretical basis on elements of acoustics, electro-acoustics and digital audio, all important topics that underpin creative applications of audio technologies in the recording and media industries. The module covers: Elements of Acoustics. Auditory perception. Analog audio and signal path. Frequency spectrum of musical and non-musical sounds. Digitisation of audio signals. Sampling. Digital Audio Workstations (hardware and software). Microphones. Loudspeakers. Lectures feature extensively multi-media aids and include sound examples and demonstrations on hardware and software. You can study, revise and prepare yourself for the end-of-module assessed quiz using a wealth of learning resources: the Keele Learning Environment, the Music Technology pool room / studios, the Library and at home. Formative quizzes are available throughout the semester to test your preparation for the final quiz. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| MUS-20020 | Music - Study Abroad I | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20021 | Music - Study Abroad II | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20022 | Music - Study Abroad III | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20023 | Music - Study Abroad IV | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20040 | Orchestration | EP | C | 7.5 | 15 | |
| In this module students are introduced to techniques of scoring for instrumental media. Drawing on contemporary and historical repertoire of orchestral music the module studies the function of timbre as a structural determinant by analysis of scores and the application of practical skills. This module enhances the composition pathway in the music degree, complementing Intro to Composition (at level 1) and Intermediate Composition (at level 2). | ||||||
| MUS-20040 | Orchestration | O | C | 7.5 | 15 | |
| In this module students are introduced to techniques of scoring for instrumental media. Drawing on contemporary and historical repertoire of orchestral music the module studies the function of timbre as a structural determinant by analysis of scores and the application of practical skills. This module enhances the composition pathway in the music degree, complementing Intro to Composition (at level 1) and Intermediate Composition (at level 2). | ||||||
| ~ | MUS-20044 | Theory and Analysis | O | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20044 | Theory and Analysis | EP | C | 7.5 | 15 |
| Analysing music enables critical understanding of the ways in which music is organised, and also facilitates more informed assessment of its qualities. Such enhanced appreciation offers the prospect of intensified engagement with music. As well as offering insights into individual scores, the module also demonstrates how such scores relate to larger frameworks of musical engagement. The underlying analytical question is: how does music work? | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | O | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20045 | Stravinsky, Russian Traditions and Legacy | EP | C | 7.5 | 15 |
| This module introduces students to the music of one of the most signficant twentieth-century composers, Igor Stravinsky. Stravinsky's creative career spanned most of the century, but initiated and reflected some of the most important musical developments of the century. Stravinsky's early music was indebted to his Russian nationalist musical heritage and this is evident in his 3 early ballets, The Firebird, Petrushka, The Rite of Spring. These works shook the musical and artistic world because of their mixture of modernity, exoticism and primitivism; they also made him (in)famous. Not content to repeat himself, Stravinsky appeared to reject his own innovations and instead re-engaged with music of the past. For 30 years he wrote music that was largely tonal and that often reworked old forms and styles to produce something new and distinctive. Stravinsky's final phase surprised many; he embraced twelve-note serialism, albeit on his own terms. His final creative years give a fascinating reflection of the musicians, poets and politicians Stravinsky knew and to whom he paid homage in numerous musical tributes. Exile is an important issue in considering Stravinsky. His moves from Russian to France and then to America are reflected in his compositional output, yet there are many enduring and persitent traits. Throughout his career, his music shocked on account of his tendency to borrow or 'steal' existing music, for instance, folk song and music of the past. Until recently, much of Stravinsky's output was considered to be outside mainstream modernist traditions. However, the module considers changing perspectives on Stravinsky significance; composers and writers have rethought Stravinsky's place in the twentieth century and his legacy today. | ||||||
| ~ | MUS-20046 | Chamber Music | O | C | 7.5 | 15 |
| The Chamber Music module offers the the opportunity for students to explore the great wealth of repertoire in the (mainly) Western classical canon and to establish musical partnerships which can then be extended and developed beyond the duration of the module. Students will be introduced to works suitable to the combinations of instruments (voices) that are registered on the module and they will have the opportunity to undertake further individual research into possible repertoire. The groups (once established) will be coached in their selected repertoire aiming to develop a uniformity of approach and tightness of ensemble whilst still encouraging the individual expressive voice of each member of the group to speak. In a series of workshop classes, groups will perform sections of or whole works to each other prompting group discussion on the musical, technical and stylistic issues which the performances generate. The module culminates with an assessed public recital in which each student will perform in one or more ensembles for at least 15 mins. | ||||||
| ~ | MUS-20046 | Chamber Music | EP | C | 7.5 | 15 |
| The Chamber Music module offers the the opportunity for students to explore the great wealth of repertoire in the (mainly) Western classical canon and to establish musical partnerships which can then be extended and developed beyond the duration of the module. Students will be introduced to works suitable to the combinations of instruments (voices) that are registered on the module and they will have the opportunity to undertake further individual research into possible repertoire. The groups (once established) will be coached in their selected repertoire aiming to develop a uniformity of approach and tightness of ensemble whilst still encouraging the individual expressive voice of each member of the group to speak. In a series of workshop classes, groups will perform sections of or whole works to each other prompting group discussion on the musical, technical and stylistic issues which the performances generate. The module culminates with an assessed public recital in which each student will perform in one or more ensembles for at least 15 mins. | ||||||
| ~ | MUT-20001 | Audio-Visual Composition | EA | C | 7.5 | 15 |
| This module enable students to produce creative work that uses as combination of digital audio and digital video. This module deals with: a brief history and aesthetics of experimental digital audio-visual composition; the analysis of audio-visual works from selected repertoire. Students also learn to use: creative tools for synthesis and transformation of digital video footage and animations; creative tools for synthesis and transformation of digital audio materials; strategies to combine audio and video materials in a creatively coherent manner. | ||||||
| ~ | MUT-20003 | Meaning in Sonic Arts | EA | C | 7.5 | 15 |
| This module examines the analytical tools and approaches used to understand the construction and meaning of works of Sonic Art together with their relationship to wider artistic and social contexts and impulses. Topics studied include: semiological approaches to music as applied to Sonic Arts and related art forms; sound, meaning and mimesis; timbre, structure and discourse; social aspects concerning the reception and dissemination of sonic arts. | ||||||
| ~ | MUT-20005 | Interactive Realtime Composition | EA | C | 7.5 | 15 |
| In this module, students learn skills for interactive realtime processing including the use of software and its application to advanced live audio processing. A variety of time-domain and spectral-domain techniques are covered including: filtering, FFT (Fast Fourier Transform) based algorithms (convolution, vocoding, etc.), granularization of streaming sound, delay effects. The module also discusses technical and aesthetic aspects of the creative repertoire that use relevant realtime processing and live performance techniques as well as providing guidance in related creative project work(e.g. interactive composition, improvisation). | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-20032 | Indian Music | O | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20032 | Indian Music | EP | C | 7.5 | 15 |
| This module promotes an understanding of Northern Indian classical music, Indian film music and and range of related popular music through the analysis of recorded performance and video. Central to the module is an understanding and recognition of musical techniques which may surface in a variety of musical contexts, but which are rooted in the classical traditions; students are encouraged to focus on both the minutiae of very short extracts as well as understanding the large scale architecture of performance. In the case of popular music, students will explore how traditional elements interact with the conventions of popular music through various case studies. | ||||||
| ~ | MUS-20039 | Music in German Culture | O | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20039 | Music in German Culture | EP | C | 7.5 | 15 |
| Germany holds a special place in the history of music; this module considers why this is so, and examines some of the principal moments in this history. By ranging across a variety of media, such as concert music, opera, film music, music theatre and the musical, it also reveals how music interacts with a range of cultural forms within a modern European nation that is associated with a prestigous tradition. Key moments will be chosen from an historical span ranging from the late eighteenth to late twentieth centuries. | ||||||
| ~ | MUS-20041 | SOLO PERFORMANCE | O | C | 7.5 | 15 |
| Solo performance offers the opportunity for students to present a 20-minute assessed public recital. They will continue to receive the individual instrumental lessons and will regularly perform parts of their chosen repertoire in the workshop classes which make up a significant portion of the module. These class performances significantly help to increase the confidence of each student in playing in front of an audience. Students will discuss and work on a close examination and inculcation of the skills required for successful performance at an advanced level; attention is given to idomatic performance practice, style and interpretation and communication. Listening to and reflecting upon live and recorded performances is an integral part of the module; students will keep and submit a diary which offers their thoughts and reflections on the works and perfomances to which they are listenening. The assessed recital at the close of the module offers the opportunity for friends and family to attend and support, thereby creating a truely public concert. | ||||||
| ~ | MUS-20041 | SOLO PERFORMANCE | EP | C | 7.5 | 15 |
| Solo performance offers the opportunity for students to present a 20-minute assessed public recital. They will continue to receive the individual instrumental lessons and will regularly perform parts of their chosen repertoire in the workshop classes which make up a significant portion of the module. These class performances significantly help to increase the confidence of each student in playing in front of an audience. Students will discuss and work on a close examination and inculcation of the skills required for successful performance at an advanced level; attention is given to idomatic performance practice, style and interpretation and communication. Listening to and reflecting upon live and recorded performances is an integral part of the module; students will keep and submit a diary which offers their thoughts and reflections on the works and perfomances to which they are listenening. The assessed recital at the close of the module offers the opportunity for friends and family to attend and support, thereby creating a truely public concert. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | O | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| ~ | MUS-20042 | Composition Studies: Intermediate Composition | EP | C | 7.5 | 15 |
| This module is concerned with the study and practice of compositional techniques through composition and analysis of scores. The focuses will be: timbre, texture, process, structure and form. These areas of compositional practice will be studied across a number of scores. Students will compose one or more compositions for the instrumental forces available within the group, demonstrating an understanding of creative, artistic, issues arising from coursework, discussions and workshops. | ||||||
| MUS-20043 | Lyrics and the Popular Song | EP | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20043 | Lyrics and the Popular Song | O | C | 7.5 | 15 | |
| What makes a great lyric? Why are song lyrics sung? And why are those sung song lyrics accompanied? What, and how, do popular songs mean? Is pop and rock disposable, meaningless commercial art, or a site of profundity, self-discovery and meaningful explorations of socio-cultural issues and the human condition? On this innovative and highly interactive interdisciplinary module fusing creative and critical approaches, you will learn to create, critique, analyse, edit and sing lyrics, in order more fully to comprehend the powerful fusion of words and music at the centre of pop and rock's socio-cultural and artistic meanings, and to develop your own creative voice and abilities as either a writer or a musician. Led by song writer, pop star and novelist Joe Stretch (English) and erstwhile songwriter, never a pop star and musicologist Nick Reyland (Music), the module will proceed through two phases, critical and creative, all sessions having a high level of student participation. In the first phase, lectures, seminars and tutorials will explore core critical issues in the analysis of popular songs lyrics, how they are sung and their interaction with a musical environment; creative considerations including specificity vs opacity, use of names, sexuality and place will be explored. A critical essay will be submitted at the end of this phase of the module. The second phase will take the form of a series of creative workshops involving group and later individual creative work. Indicative themes for the workshops include critiquing and improving flawed existing lyrics, finding melodies for new lyrics, and creating lyrics and melodies for pre-recorded musical environments, in response to literary stimuli. Towards the end of the module, students will bring in their own developing work on their second piece of coursework (a creative task involving either editing an existing lyric or creating a new lyric and melody for a pre-recorded environment) and discuss, with peers and with the tutors, their work in progress. Please note that, while an interest in popular music, creative writing and/or song writing are obviously 'must haves' for students taking the module, no particular musical talent, particularly as a vocalist, is required to enrol. On the other hand, whether or not you consider yourself a singer, you will be singing out loud and sharing your creative work by week twelve, albeit in an informal and supportive creative environment. The module is therefore most obviously suited to musicians and writers with a developing interest in the creation of popular music, but is open to all. To begin thinking around the topic, listen harder to songs you know well: what is the relationship between the songs' sung words and accompaniments? Why are the song's memorable? What makes their most memorable or moving moments memorable or moving? You could also read Simon Frith's Why do songs have words? Simon Frith Contemporary Music Review Vol. 5, Iss. 1, 1989 http://www.tandfonline.com/doi/abs/10.1080/07494468900640551 | ||||||
| MUS-20049 | Music - Study Abroad V | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20050 | Music - Study Abroad VI | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20051 | Music - Study Abroad VII | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| MUS-20052 | Music - Study Abroad VIII | EP | C | 7.5 | 15 | |
| This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. | ||||||
| ~ | MUT-20002 | Creative Sound Design | EA | C | 7.5 | 15 |
| This module deals with the application of software to advanced audio-processing and sound-design using a variety of techniques (e.g. filtering, spectral domain techniques, time domain techniques, etc.). The module includes discussion of technical and aesthetic aspects of the uses of audio processing and sound design techniques; providing skills for creative project work, such as composition and sound design (e.g. design of a soundtrack for video). | ||||||
| MUT-20007 | Record Production in Theory and Practice | EA | C | 7.5 | 15 | |
| What is the essence of excellent record production? On this module, students will engage in theoretical reflection and practical studio work relevant to the production of recorded music. The lectures will cover a range of contemporary topics examining studio techniques and production aesthetics, including the pre-production/production/post-production chain that typically underlays the planning and realisation of a music track. Students will be required to complete two coursework projects directly tied to the practical and theoretical aspects of the module. In one, students will adapt approaches in literature discussed on the module, in order to analyse the aesthetic impact of production decisions and techniques on a track of their own choosing. In the other, students will organise and see through a sound recording, editing and mixing project. This will include deciding what musical parts need to be recorded and how, organising and directing the studio sessions, finding the 'session' musicians, working with them in the Music &Music Technology recording studios, carrying out the necessary editing, and then mixing and mastering, in order to arrive at a final track of a standard that could be included in a record release. | ||||||
| MUT-20008 | Introduction to Digital Signal Processing | EA | C | 7.5 | 15 | |
| This module aims to establish the theoretical base for music digital signal processing based on audio technologies currently employed for creative purposes. At the end of the module students will be able to:describe the main techniques for digitising and storing sound; understand the principles and means of implementing techniques for storage and processing; identify contemporary and established techniques for synthesis and processing. | ||||||
| Semester 1 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30036 | Paris: 1870-1939 | O | M | 7.5 | 15 |
| This module introduces students to music and culture in France during the Third Republic (1870-1939). It addresses key issues of the period, such as national identity, patriotism, war, orientalism and how these impact on musical production in the period. The module is divided into distinct topics, including exoticism, high/low art, jazz, war and musical production, patriotism and nationalism and musical aesthetics after the Great War. It focuses on selected composers including Bizet, Debussy, Ravel, Satie and the group Les Six. It also introduces students to a range of repertoire by French and other composers, such as Stravinsky, Schoenberg and de Falla who were active in France in this period. The module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture and its engagement with politics, aesthetics and ideas. | ||||||
| ~ | MUS-30036 | Paris: 1870-1939 | EP | M | 7.5 | 15 |
| This module introduces students to music and culture in France during the Third Republic (1870-1939). It addresses key issues of the period, such as national identity, patriotism, war, orientalism and how these impact on musical production in the period. The module is divided into distinct topics, including exoticism, high/low art, jazz, war and musical production, patriotism and nationalism and musical aesthetics after the Great War. It focuses on selected composers including Bizet, Debussy, Ravel, Satie and the group Les Six. It also introduces students to a range of repertoire by French and other composers, such as Stravinsky, Schoenberg and de Falla who were active in France in this period. The module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture and its engagement with politics, aesthetics and ideas. | ||||||
| ~ | MUS-30037 | Paris Project - ISP | O | C | 7.5 | 15 |
| Paris Project enables students to build on the specialist training and learning they have undertaken or are undertaking in the module Paris: 1870-1939. They select a topic of their own choice in consultation with the module tutor. They are guided through their projects with individual supervision, as well as group work and some plenary sessions. They have the opportunity to present their work to their peers and to receive immediate feedback. Students submit a substantial project of 4000 words. | ||||||
| ~ | MUS-30037 | Paris Project - ISP | EP | C | 7.5 | 15 |
| Paris Project enables students to build on the specialist training and learning they have undertaken or are undertaking in the module Paris: 1870-1939. They select a topic of their own choice in consultation with the module tutor. They are guided through their projects with individual supervision, as well as group work and some plenary sessions. They have the opportunity to present their work to their peers and to receive immediate feedback. Students submit a substantial project of 4000 words. | ||||||
| ~ | MUS-30038 | Contextual Studies 1 | O | M | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on music ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. | ||||||
| ~ | MUS-30038 | Contextual Studies 1 | EP | M | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on music ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | O | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30044 | Approaches to Music Analysis | O | M | 7.5 | 15 | |
| How does one analyse music? What should a close reading of a composition look like? How do theory, analysis and critical interpretation interconnect? Is music theory and analysis a subdiscipline of musicology operating in an ivory tower, or a vital organ powering cultural history, composition, critical theory, and more? This module explores such questions and offers an opportunity closely to analyse a range of music, cover a wide range of issues pertaining to the nature of musical meaning, and to study critically examples of theory and analysis from the musicological literature. The module may be taken individually or as an ISP with the Semester 2 module 'Analysis Project'. Please note that the module includes a close engagement with music theory and analysis, and is therefore ideal for students with a keen interest in music criticism, theory and analysis. Students who have not taken MUS-20044 at Level 2 are welcome but encouraged to read a guide to music analysis in preparation for this module, such as Nicholas Cook's A Guide to Musical Analysis. Students who are concerned about their level of music theoretical knowledge are encouraged to ensure they are of ABRSM Grade 7 or Grade 8 theory standard or equivalent before beginning the module. | ||||||
| MUS-30044 | Approaches to Music Analysis | EP | M | 7.5 | 15 | |
| How does one analyse music? What should a close reading of a composition look like? How do theory, analysis and critical interpretation interconnect? Is music theory and analysis a subdiscipline of musicology operating in an ivory tower, or a vital organ powering cultural history, composition, critical theory, and more? This module explores such questions and offers an opportunity closely to analyse a range of music, cover a wide range of issues pertaining to the nature of musical meaning, and to study critically examples of theory and analysis from the musicological literature. The module may be taken individually or as an ISP with the Semester 2 module 'Analysis Project'. Please note that the module includes a close engagement with music theory and analysis, and is therefore ideal for students with a keen interest in music criticism, theory and analysis. Students who have not taken MUS-20044 at Level 2 are welcome but encouraged to read a guide to music analysis in preparation for this module, such as Nicholas Cook's A Guide to Musical Analysis. Students who are concerned about their level of music theoretical knowledge are encouraged to ensure they are of ABRSM Grade 7 or Grade 8 theory standard or equivalent before beginning the module. | ||||||
| MUT-30002 | Digital Arts Creative Portfolio 1 | EA | C | 7.5 | 15 | |
| MUT-30003 | MAX/MSP | EA | C | 7.5 | 15 | |
| MAX-MSP is a widely used software package allowing for the design of musical algorithms using MIDI and recorded, live or sampled sounds. The ideas and material explored in this module provide skills that can be used in the context of other modules, notably composition and cross media practice. The focus is on the design and development of intelligent tools which aid the composition and performance, provide automation of tasks and extend the capabilities of conventional instruments. The principal objective of the module is the creation and realisation of a score involving live performance and electronics. The emphasis throughout the module is on a compositional possibility for the use of MAX/MSP. | ||||||
| MUT-30004 | Music Programming | EA | C | 7.5 | 15 | |
| This module consists of a series of lectures and workshops. You will acquire knowledge on how to use a programming language and work through a series of tasks that will guide you in writing your own programs. You should very quickly get to the point where you can design the interface of your software and test its functionality. Then, you will be ready to integrate the required code to get it to generate sounds. You will be encouraged to think about the implementation of your own creative ideas, which you will be able to discuss with the module tutor. | ||||||
| # | PSY-30043 | Research in Music Psychology | O | C | 7.5 | 15 |
| This module introduces students to the subject area of music psychology and to key approaches to research in this field, drawing on a range of existing studies at the forefront of the discipline. It is a highly practical module where students both participate in and design and conduct their own innovative group research studies in a range of topic areas at the core of the discipline. These include the effects of music on emotion, memory, and concentration, strong experiences of music, motivation for music, and other aspects of musical biography, preferred music and personality. The module develops students' understanding of research methods in psychology and enables them to apply this to a specific field, practising specific skills of analysis and presentation of findings in different written media. Students will be expected to participate fully in the research projects of themselves and other class members and 10% of the module is awarded for contribution to project work. Remaining assessments include an individual written critique of the research in the chosen topic area (60%) and a group poster presentation of the findings of the research (30%). | ||||||
| # | PSY-30043 | Research in Music Psychology | EP | C | 7.5 | 15 |
| This module introduces students to the subject area of music psychology and to key approaches to research in this field, drawing on a range of existing studies at the forefront of the discipline. It is a highly practical module where students both participate in and design and conduct their own innovative group research studies in a range of topic areas at the core of the discipline. These include the effects of music on emotion, memory, and concentration, strong experiences of music, motivation for music, and other aspects of musical biography, preferred music and personality. The module develops students' understanding of research methods in psychology and enables them to apply this to a specific field, practising specific skills of analysis and presentation of findings in different written media. Students will be expected to participate fully in the research projects of themselves and other class members and 10% of the module is awarded for contribution to project work. Remaining assessments include an individual written critique of the research in the chosen topic area (60%) and a group poster presentation of the findings of the research (30%). | ||||||
| Semester 1-2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30031 | Dissertation I (Single Module) | O | C | 7.5 | 15 |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30031 | Dissertation I (Single Module) | EP | C | 7.5 | 15 |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30032 | Dissertation 2 - ISP | O | C | 15 | 30 |
| This module gives students the unique opportunity to produce a substantial piece of written work of 8000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the year to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30032 | Dissertation 2 - ISP | EP | C | 15 | 30 |
| This module gives students the unique opportunity to produce a substantial piece of written work of 8000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the year to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| ~ | MUS-30041 | Composition 2 - ISP | O | C | 15 | 30 |
| This module gives guidance and provides supervision to enable the creation of a substantial portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30041 | Composition 2 - ISP | EP | C | 15 | 30 |
| This module gives guidance and provides supervision to enable the creation of a substantial portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30042 | Recital - ISP | O | C | 15 | 30 |
| This module allows students who have completed performance pathway modules at levels 1and 2 to devise and work on a recital programme of repertoire appropriate to their technical ability and stylistic interests; repertoire can include solo unaccompanied works, duos with piano accompaniment and /or larger chamber groupings. Individual instrumental lessons continue for students to supplement the modules seminar and tutorial sessions. Opportunities to perform part of the recital programme are plentiful and additionally students will be encouraged to perform publicly outside of the classes as part of their preparation. Students receive coaching from the module tutor and are required to perform regularly in front of their peers in a constructive and supportive environment. They will be recorded on several occasions in addition to the formative assessment no.3. The modules builds on performance qualities and skills developed at level 1and 2 , with the demanding 40min recital expected to equate to conservatoire diploma standard. | ||||||
| ~ | MUS-30042 | Recital - ISP | EP | C | 15 | 30 |
| This module allows students who have completed performance pathway modules at levels 1and 2 to devise and work on a recital programme of repertoire appropriate to their technical ability and stylistic interests; repertoire can include solo unaccompanied works, duos with piano accompaniment and /or larger chamber groupings. Individual instrumental lessons continue for students to supplement the modules seminar and tutorial sessions. Opportunities to perform part of the recital programme are plentiful and additionally students will be encouraged to perform publicly outside of the classes as part of their preparation. Students receive coaching from the module tutor and are required to perform regularly in front of their peers in a constructive and supportive environment. They will be recorded on several occasions in addition to the formative assessment no.3. The modules builds on performance qualities and skills developed at level 1and 2 , with the demanding 40min recital expected to equate to conservatoire diploma standard. | ||||||
| MUT-30006 | Music Programming Project - ISP | EA | C | 15 | 30 | |
| This module will give guidance and provide supervision to facilitate production of materials for assessment by addressing general topics pertaining to music software design, and specific problems generated by individuals within the group. Programming topics include: familiarisation with an Integrated Development Environment (IDE), compiling and executing applications. variables and operators(e.g. in C++) , designing an interface, connecting variables to the interface, conditional statements, loops arrays, programming with specific interface paradigms(e.g. combo boxes, check boxes, radio buttons, etc.), programming with specific musical protocols (e.g. MIDI), pointers, structures, file input and output, audio input, output and storage, advanced work on dialog-box style applications. | ||||||
| MUT-30007 | Music Technology Dissertation I (Single Module) | EA | C | 7.5 | 15 | |
| This module gives students the opportunity to produce an independent piece of written work of 4000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the semester to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| MUT-30008 | Music Technology Dissertation 2 - ISP | EA | C | 15 | 30 | |
| This module gives students the unique opportunity to produce a substantial piece of written work of 8000 words. Students can select a topic of particular interest in consultation with the module tutor. The tutor ensures that the appropriate supervision is available to support the topic. Students work independently with a dissertation supervisor and also in small groups and seminars. Students study research skills appropriate for this level of study. They also work consistently throughout the year to meet a number of internal deadlines for titles, chapter plans and draft chapters. They submit a draft chapter to the supervisor in order to gain valuable feedback on their project and their progress. | ||||||
| Semester 2 | C/O | TYP | ECTS | CATS | ||
| ~ | MUS-30039 | Contextual Studies 2 - ISP | O | C | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on composers ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. Contextual Studies 2 builds on Contextual Studies 1 by providing a glimpse of what postgraduate work in the field would be like. | ||||||
| ~ | MUS-30039 | Contextual Studies 2 - ISP | EP | C | 7.5 | 15 |
| This module introduces students to key themes in current musicological debate: canon and reception; classical music today; modernism and postmodernism; cultural studies; musical subjectivity; authenticity in music; and music in everyday life. It focuses on composers ranging from Beethoven to Kagel to world music. This module builds on expertise and skills developed at level 2, but asks different and more probing questions about music's role in culture, and about how the discourses of musicology shape our understanding of music. Contextual Studies 2 builds on Contextual Studies 1 by providing a glimpse of what postgraduate work in the field would be like. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | O | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| ~ | MUS-30040 | Composition 1 (Single Module) | EP | C | 7.5 | 15 |
| This module gives guidance and provides supervision to enable the creation of a small portfolio of compositions by addressing general topics relating to instrumental, vocal and electroacoustic forces and specific compositional interests of individual composers. Students will explore techniques and ideas relating to their own musical language, means of creating and developing musical material and organising their own ideas with respect to considerations of musical form and structure. | ||||||
| MUS-30043 | Analysis Project | O | C | 7.5 | 15 | |
| This module is an opportunity to complete a substantial music analysis of a work of your own choosing, developing your particular musical interests and taking them to the next critical level. Students may take the module in one of two ways. 1. If you have taken Approaches to Music Analysis in Semester 1, the module can form part of an ISP. 2. Alternatively, you can take the module as a free-standing elective, but only IF you have successfully completed at least TWO of the following modules, and IF you use the module as an opportunity to develop a project based on approaches to music theory and/or analysis already investigated on one of these earlier modules: MUS-20045 Stravinsky, Russian Traditions, and Legacy / MUS-20044 Theory and Analysis / MUS-20039 Music in German Culture / MUS-20032 Indian Music / MUS-20043 Lyrics and the Popular Song / MUS-20047 Unheard Melodies. Building on approaches studied on the modules specified under either 1. or 2. above, Analysis Project provides students with an opportunity to create a detailed, theoretically-grounded, close musical analysis of a substantial musical work (or section thereof). Students on the module will draw on methods of analysis and criticism investigated on the relevant earlier module(s) to create their own interpretation of a musical text. You will gain experience from working with a group of fellow analysts and sharing your work in progress with them and the tutor, and develop a significant essay in music criticism that could serve as a summation of a strand of your work as a Music student, and/or as a springboard to further studies in music at postgraduate level. | ||||||
| MUS-30043 | Analysis Project | EP | C | 7.5 | 15 | |
| This module is an opportunity to complete a substantial music analysis of a work of your own choosing, developing your particular musical interests and taking them to the next critical level. Students may take the module in one of two ways. 1. If you have taken Approaches to Music Analysis in Semester 1, the module can form part of an ISP. 2. Alternatively, you can take the module as a free-standing elective, but only IF you have successfully completed at least TWO of the following modules, and IF you use the module as an opportunity to develop a project based on approaches to music theory and/or analysis already investigated on one of these earlier modules: MUS-20045 Stravinsky, Russian Traditions, and Legacy / MUS-20044 Theory and Analysis / MUS-20039 Music in German Culture / MUS-20032 Indian Music / MUS-20043 Lyrics and the Popular Song / MUS-20047 Unheard Melodies. Building on approaches studied on the modules specified under either 1. or 2. above, Analysis Project provides students with an opportunity to create a detailed, theoretically-grounded, close musical analysis of a substantial musical work (or section thereof). Students on the module will draw on methods of analysis and criticism investigated on the relevant earlier module(s) to create their own interpretation of a musical text. You will gain experience from working with a group of fellow analysts and sharing your work in progress with them and the tutor, and develop a significant essay in music criticism that could serve as a summation of a strand of your work as a Music student, and/or as a springboard to further studies in music at postgraduate level. | ||||||
| MUT-30001 | Colloquia in Electroacoustic Music | EA | M | 7.5 | 15 | |
| This course will address issues such as the aesthetic implications of various sub-genres, social issues concerning the comprehension and dissemination of electroacoustic music, compositional matters regarding the use of anecdotal sounds, theoretical approaches to classification of timbre, politics and music technology, gender issues, etc. Teaching will mainly comprise class discussion of set texts. | ||||||
| MUT-30005 | Digital Arts Creative Portfolio 2 - ISP | EA | C | 7.5 | 15 | |