The overall indicative content of the module will be based on the needs and interests of the student cohort across all years at undergraduate level and as such it isn’t possible to provide a comprehensive overview of the type of content which will be covered.

Students will work with a project supervisor to plan and execute a piece of practical work that is of a significant enough weight for a 20 Credit module at level 3. The work will encompass as much as possible of the learning and skills which have been developed over the year. They will be encouraged to collaborate across courses and levels in order to further develop skills and experience and build professional portfolios. The size and scale will be part of the negotiation process, and plans will be co-created with academic staff to ensure size and levelness is appropriate for the specific project.

The Practical Project Proposal will be undertaken very early in the project block, will set out the plan for the rest of the work, the length, deliverable items at the end and the way in which students will work with others (or not) to deliver it. (LO1)

The Practical Project planning and preparation process will consist of collated documentation of the student’s contribution to their project. This documentation will consist of documentation of all of the preparatory work which has gone into the creation of the project. For example, plans, strategies, meeting notes, interactions with stakeholders, practice works and experiments. (LO1 & LO2)

The Practical Project Product This might be focussed around a specific final artifact, in the case of a composition or recording based task, but it might be a portfolio of social media posts and results in the case of a marketing focussed project. Depending on what the product is will dictate the exact way it is submitted. Time specific products (e.g. performances, events, or processes) will be presented as documentation highlighting the totality of the product. (LO 1,2, and 3)

The overall model will change based on the needs of students, but there will be a backbone of cross level individual and group supervision and tutorial meetings to track progress and development of ideas. In addition to this specific workshops and training sessions which focus on providing skills and knowledge which relate directly to the needs of students and their projects will be undertaken on a week-by-week basis based on demand.

1. Demonstrate a basic understanding of different approaches to solving practical problems within Music and Sound practice. Problem Solving

2. Apply knowledge of music and sound practice in the creation of a practical music and sound output. Application

3. Demonstrate knowledge of the fundamental theories and concepts in music and sound as they apply to practical product creation. Knowledge and Understanding

Recording Studios, Labs, equipment from stores.

Collins, N., Schedel, M. & Wilson, S. (2013) Electronic Music. Cambridge University Press.

DeSantis, D. (2015). Making Music: 74 Creative Strategies for Electronic Music Producers. Ableton AG.

Perricone, J. (2007) Melody in Songwriting Tools and Techniques for Writing Hit Songs, Paperback. Boston, MA: Milwaukee, Wis: Hal Leonard Corporation.

Rink, J. (2005) The Practice of Performance: Studies in musical interpretation. Cambridge University Press.

Taylor, E. (1989) The AB Guide to Music Theory Vol 1. Part 1 edition. London: OUP Oxford.

Bartlett, B. & Bartlett, J. (2016). Practical Recording Techniques: The Step- by- Step Approach to Professional Audio Recording. 7th edition. Waltham, MA: Focal Press.

Huber, D.M. & Runstein, R.E. (2017). Modern recording techniques. 9th Edition. Boston: Focal Press/Elsevier.

Izhaki, R. (2017). Mixing audio: concepts, practices and tools. 3rd Edition. London: Focal.

Rumsey, F. & McCormick, T. (2014). Sound and Recording: Applications and Theory. 7 edition Burlington, MA: Focal Press.

Snoman, R. (2019). Dance Music Manual: Tools, Toys, and Techniques. 4th edition. Burlington, MA: Focal Press.

Harrison, A., (2011) Music: The Business: The Essential Guide to the Law and the Deals, Virgin Books.

Haynes, R., (2005) Media Rights and Intellectual Property, Edinburgh University Press.

Levinson, J.C., (1998) Guerrilla Marketing: Secrets for Making Big Profits from Your Small Business. 3rd ed. New York, Houghton Mifflin.

Levinson, J.C., (2010) Social Media Guerrilla Marketing, Entrepreneur Press.

Music Week (http://www.nbmedia.com/), NewBay Media, LLC
ISSN: 0265-1548

Passman D., (2011) All You Need to Know about the Music Business (8th Edition), Viking Books.

Music Business Agreements / Bagehot and Kanaar on music business agreements. By Nick Kanaar and Chris Phillips. - 3rd ed. - London: Sweet & Maxwell, 2009

This module provides a unique space for you to focus on developing your practical skills and creating a fantastic portfolio of work. Your practical project will be your only focus for the final 12 weeks of the year, and you will get personalised support from across the course team to ensure that you can build and develop on what you already know.