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SCHOOL OF ARTS AND DIGITAL INDUSTRIES

Module Title: Music Production

Module Code: PA1903


Level 1
Semester A
Academic Year 2014-15

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Module Leader: Ken Foreman
Email: ken.forema@icmp.co.uk
Tel: 0207 328 0222
Room Number:
2
PA1903 Music Production


MODULE GUIDE


Semester A


Module Leader

Ken Foreman
Contact Details
ken.foreman@icmp.uk.com

Room: as timetabled
Student Hours:


Other Tutors

Steve Turner
Contact Details
steve.turner@icmp.co.uk

Misha Nikolic
Contact Details
misha.nikolic@icmp.co.uk

Paul Stanborough
Contact Details
paul.stanborough@icmp.co.uk

Room: as timetabled
Student Hours:


Timetabled Teaching

See teaching schedule (Page 5) and Timetable


Assessment

CW1 - Music Technology -
Practical Assessment

CW1 - Songwriting Lead
Sheet (structure, chords)
plus Lyrics
CW3 - Songwriting
Recital Performance
Week 12
Thurs 18
th
Dec 2014
Week 7
Mon 10
th
Nov 2014
Exam Period 5
th
16
th

Jan 2015


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INTRODUCTION TO THE MODULE

Welcome to the Music Production Module - Semester 1a.

This module draws together two important creative elements songwriting and
production.

Songwriting will introduce and develop the skills you need to create, organise and
produce original work across a range of styles, focusing upon the fundamental
compositional elements - lyrics, melody, harmony and rhythm. Using each of these
elements, separately and collectively, as creative starting points, you will be
encouraged to begin to develop your own songwriting.

Music Technology aims to provide an overall view of how technology is used in
modern music production. The emphasis is on midi and audio programming using
Logic Pro, with as much practical application as possible.

Main Topics of Study:

Music Technology 1a
An introduction to the fundamentals of Music Technology designed to equip students
with the tools necessary to understand and apply the principles of music processing
and programming.

Music Technology 1a will give you an understanding of what goes on in a modern
recording studio and how production techniques, technology recording practices are
used in contemporary music.

Songwriting 1a
An introduction to the ethics of arrangement, and the basic principles of song
construction, including form, lyric writing, and rhythmic and harmonic construction

Semester 1a of this course teaches songwriting by following an historical time-line of
specific musical genres.

Students should expect to learn and acquire the core skills of songwriting


ATTENDANCE POLICY:

Every student is required to engage fully with module content in order to gain credit
for their studies. Students must meet the Universitys minimum attendance threshold
of 75%. If a student is absent for two consecutive weeks, programme administrators
will write to the student warning them of the consequences of non-attendance. In line
with the Student Attendance Policy (see student Handbook appendix E), students
failing to attend for three consecutive weeks will automatically be withdrawn from the
module in question. Withdrawal from two modules for reasons of non-attendance will
result automatically in withdrawal from their programme of study.









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MODULE AIMS

To introduce and develop the skills required to create, organise and produce original
work.

MODULE LEARNING OUTCOMES

At the end of this Module, students will:

Knowledge
1. Understand, identify, and acquire a working knowledge of different programming
and processing styles

2. Understand, identify, and acquire a working knowledge of simple compositional
forms within the idiom of popular music

3. Use IT systems, communicate electronically and use any relevant basic computer
packages

4. Be aware of and understand protocols of music production

Thinking skills
5. Apply acquired knowledge and skills in the composition of an original piece of music

Subject-based practical skills
6. With limited guidance, use basic programming and processing skills to demonstrate
the use of music technology within the context of composition and arrangement.
7. Demonstrate an understanding of basic rhythmic and harmonic compositional
devices.

Skills for life and work (general skills)
8. With limited guidance, solve technical issues which arise when using technology


READING AND RESOURCES LIST

Music Technology
Bustello, D. (2012) Logic Pro for Recording Engineers & Producers: Hal
Leonard
Senior, M. (2011) Mixing Secrets for the Small Studio: Focal Press
White, P. (2011)The Producer's Manual: Sample Magic

Songwriting
Blume, J. (2008)The Comprehensive Guide To Writing And Marketing Hit
Songs
Cole, B (2006) The Pop Composers Handbook
Davis, S. (1994) Successful Lyric Writing
Murphy, R. (2011) Murphys Laws Of Songwriting - The Book
Rooksby, R. (2006) The Songwriting Sourcebook

ADDITIONAL LEARNING AND TEACHING RESOURCES:

Learning Resources at; ICMP, UEL, local library, Barbican Library
Observing performance; live, recorded (Online/DVD/Video)
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TEACHING SCHEDULE

MODULE SCHEDULE (WEEK BY WEEK BREAKDOWN)

WEEK DATE LECTURERS LECTURE

15-Sep-14 N/A INDUCTION

1 22-Sep-14 Ken Foreman
Paul Stanborough, Steve
Turner and others
Introduction to the Songwriting Course
Introduction to the Music Technology Course

2 29-Sep-14 As Above Blues Songwriting
Intro to Logic and MIDI
3 06-Oct-14 As Above Rhythm and Blues and Voodoo
Intro to Logic and MIDI 2
4 13-Oct-14 As Above Rock n Roll Cars, Girls and Teen Idols
Midi Programming & Editing
5 20-Oct-14 As Above Introducing the Principal, Major-Key
Progressions
Midi Programming & Arranging the song

27-Oct-14 Break Week Break Week
6 03-Nov 14 As Above Variations of the Principal, Major-Key
Progressions
Audio Recording
7 10-Nov-14 Ken Foreman
Paul Stanborough, Steve
Turner and others
Lyrics
Hand-in Lead Sheet
Loops
8 17-Nov-14 As above Longer chord progressions, structure, and
modulations between keys
Sampling
9 24-Nov-14 As Above Introducing the Classic, Minor-Key Chord
Progressions
Sound Design
10 01-Dec-14 As Above Power Chords and Riffs
Sound theory & Intro to mixing
11 08-Dec-14 As Above Blueprint for writing a Rock Song
Arrangement techniques
12 15-Dec-14 As Above Review of submission songs for examination
Bouncing and burning the arrangement
05-Jan-14 EXAMS

12-Jan-14 EXAMS/MARKING



TEACHING METHODS:

The module is taught in the following ways:

Lectures, workshops, songwriting tutorials, technical demonstrations

Each week you will attend:
A songwriting class
A music technology class



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HEALTH AND SAFETY GUIDELINES / LAB, STUDIO OR WORKSHOP
PROTOCOLS

Please refer to the Institute handbook


ASSESSMENT

CW1 Music Technology Practical Assessment (35%)
Hand-in date Thurs 18
th
Dec 2014

CW2 Songwriting - Lead sheet and Lyric sheet (15%)
Hand-in date Mon 10
th
Nov 2014

CW3 Songwriting Recital Performance (50%)
Week 15


Assessment Details

CW1 (Learning Outcomes 1, 3, 4, 6 and 8)

For your Music Technology assessment, you will be required to program and
record a version one of the following songs:
Prince - Sign of the times
Beck - Gamma Ray
Lykke Li - Im good, Im gone

The songs can be found on the ICMP drive in the Students folder. The
following is required:
Identify the correct song structure (number of verses, choruses etc.)
Program the correct drum pattern, try and find a drum sound in Logic that
resembles the original as close as possible.
The drum part cannot be recorded using live drums and has to be
programmed via MIDI.
Record or program the guitar parts for the song either using a real guitar or
using a software instrument sound in Logic, try and find a sound that
resembles the original as close as possible.
Transcribe and print the lyrics.
Record the vocals for the 1st verse and chorus of the song.
Duration has to be at least 2 minutes.

You are allowed to collaborate and use other students for live recorded guitar
and vocal parts. However all MIDI parts has to be programmed by yourself and
each project has to have the drum part programmed using Logics in built
software instruments.

Submission
USB to include:
Aiff bounce of the final mix
Logic folder to include 'all assets', in practice all audio files plus plug-in
settings

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CW2 (Learning Outcomes: 2, 5 and 7)

For you first songwriting assessment, you will be required to compose one
original song. The song may be in any style or genre and must include lyrics.
The song should be all your own work - if at any stage of the writing process
collaboration has been involved, you must inform and seek guidance from your
tutor before handing the work in.

Submission:
Lyric sheet
Lead sheet (melody, chords and structure)
In addition, you may also submit:
MP3 audio version (optional)


CW3 (Learning Outcomes: 2, 5 and 7)

For your final songwriting assessment of semester a, you will be required to
write a second original song. Again the song may be in any style or genre and
must include lyrics. The song should be all your own work - if at any stage of
the writing process collaboration has been involved, you must inform and seek
guidance from your tutor before the assessment.

Recital Performance
You will deliver a recital performance of your song during the exam period
(Week 15). The performance does not necessarily have to be by the composer
it can be performed by anyone of the writers choice. Guest singers and
musicians may be used to present the song in its best light.


Students must achieve a 40% Pass in each assessment


All Resits will take place during the Resit Period 14
th
to 18
th
July 2014


















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Grading Criteria in Production


1 Composition

Appropriateness of format and
structure
unity of concept & realisation
effectiveness of outcome
2 Critical
Imagination

clarity and cogency of expression of
ideas
evidence of integrative method
evidence of learning & independent
thinking

3 Presentation/Technique

level of cohesion & control
formal literacy
evidence of planning/rehearsal drafting &
revision and effective organisation

70% +
Innovative: illuminating and expansive
articulation of source material and
format; integrated expression of
theme through form compelling, lyrical
text.




Intellectually rich: advanced,
complementary understanding of theory,
technology and form, realised through
cogent; insightful thesis. Lucid and
persuasive, demonstrates ability to
uncover and connect structural relations
between media, creative productivity and
society. Original, distinctive authorial
voice. Imaginative.


Commanding: innovative use of technology -
exceeds convention; authoritative, fluent control of
idiom, metaphor, citation etc. Expertly organised
and managed.

60% +

Accomplished: informed and
informative use of relevant source
material; complementary application
of theme through appropriately styled
format. Effective structure, consistent
composition; impactful text.


Developed: thoroughly well grounded
and achieved, integrative exposition.
Demonstrable evidence of applied
learning. Convincing, informative.
Strong authorial voice.

Assured: high level of technical efficiency; low
incidence of superfluous and/or redundant or
gratuitous effects. Appropriate care taken;
cohesive, effective pacing etc.; in control.
Effectively organised and managed.

50% +

Competent: quite well designed;
endeavours to integrate medium and
theme, though inconsistent in parts
and not always demonstrating a
complementary relation between the
two. Not wholly convincing, though
shows demonstrable commitment and
application to task; perhaps too reliant
on conventional approaches.
Adequate text.



Satisfactory grasp of theory practice
relations, though not entirely sustained or
convincing. Indistinct perspective.


Adequate: in general, technically competent;
sufficient but restricted formal register. Does not
establish full control. Some redundant elements.
Inclined to technological fetishism and/or
literalmindedness. (Would benefit from further
drafting). Fairly well organised and managed.

40% + (pass)

Underdeveloped: sparsely resourced;
mismatched and superficial treatment
of theme and form. Generally
unconvincing of diligence and
deliberation. Poorly structured, ill-
composed.


Naive, ill-prepared conception and
representation and though effort made
and some suggestion of thought, overall,
not convincing. Lacks rigour. Limited
awareness; weak presence.


Underdeveloped: confused, and sometimes
inappropriate use of technology and poor
command of formal language. Prone to
awkwardness. Slack and at times languid,
repetitive, off-key. Uncertain. Inarticulate.
Shabby management and organisation.


30%

Inadequate: vacuous, little if any
evidence of planning, or attention to
specificities of presentation in the
project. Confused, disjointed, ill-
informed. Inappropriate - should not
proceed with media practice.



Intellectually impoverished: no
connecting argument. Irrelevant,
incoherent miscellany, made without
awareness of significance of form.
Unselfconscious; suggesting indolence
and/or incapacity. Fail.


Nonsensical : wholly inefficient and ineffective
command of formal means of communication.
Artless, confused and confusing. Rash of
unmotivated effects. Below threshold of technical
competence. Incompetent management and
organisation.










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Contextualised Grading Criteria / Marking Guide
Songwriting



30% 30% 20% 20%
Melody and
Harmony
Lyric Structure Performance /
Representation
70+ Moving,
memorable
melody. Perfectly
complimented by
harmony
Original and
inspired. Creative
use of imagery.
Enlightened
expression of theme
or message
Excellent and
inventive structure
making perfect use
of individual song
sections
Convincing, assured
performance perfectly
representing the
composition. Accurate
and emotive lead vocal
60+ Strong melody
with solid, well
developed
harmonic support
Very good lyric.
Well expressed,
clear theme,
demonstrating
original thought.
Good use of
imagery
Strong
arrangement. Very
good definition
between sections
and maintains
momentum and
intensity
Strong performance.
Accurate vocal. Song
very well represented.
Evidence of focussed
rehearsal
50+ Good, identifiable
melody and
suitable chord
progression
Good lyric, though
not inspired. Theme
and imagery
evident, though not
developed
Decently organised
arrangement.
Defined sections
and momentum
generally
maintained
Good performance.
Song represented
adequately. Vocal fine
but with some tuning,
phrasing discrepancies
40+ Satisfactory
melody and
harmony
Acceptable lyric
which does not
detract from melody
Acceptable
arrangement but
lacks some focus
and loses interest
Average performance.
Lack of rehearsal.
Vocal lacks accuracy
and emotion
Fail No defined
melody,
inadequate and
undeveloped
Poor, clichd and
unacceptable
Chaotic. No
definition between
sections. Poor
Unsatisfactory
performance.
Unsuitable
arrangement. Vocal so
poor that song
unrecognisable

1. Recognisable similarity to another composition minus 10%
2. Deliberate Passing-off - fail



















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Module Specification
Module Title:

MUSIC PRODUCTION 1a
Module Code: PA1903

Level: FHEQ Level 4

Credit: 20

ECTS credit: 10
Module Leader:

Ken Foreman
Pre-requisite: N/A

Pre-cursor: N/A

Co-requisite: N/A

Excluded combinations : N/A

Is this module part of the Skills Curriculum? No University-wide option: No
Location of delivery: The Institute
Main aim(s) of the module:

To introduce and develop the skills required to create, organise and produce original work.


Main topics of study:

Music Technology 1a

An introduction to the fundamentals of Music Technology designed to equip students with the tools necessary to
understand and apply the principles of music processing and programming.

Songwriting 1a

An introduction to the ethics of arrangement, and the basic principles of song construction, including form, lyric
writing, and rhythmic and harmonic construction.

Learning Outcomes for the module

At the end of this Module, students will:

Knowledge
1 Understand, identify, and acquire a working knowledge of different programming and processing styles

2 Understand, identify, and acquire a working knowledge of simple compositional forms within the idiom of
popular music

3 Use IT systems, communicate electronically and use any relevant basic computer packages

4. Be aware of and understand protocols of music production

Thinking skills

5 Apply acquired knowledge and skills in the composition of an original piece of music

Subject-based practical skills

6 With limited guidance, use basic programming and processing skills to demonstrate the use of music technology
within the context of composition and arrangement

7 Demonstrate an understanding of basic rhythmic and harmonic compositional devices

Skills for life and work (general skills)

8 With limited guidance, solve technical issues which arise when using technology

Teaching/ learning methods/strategies used to enable the achievement of learning outcomes:
For on campus students:

Lectures, workshops, song writing tutorials, technical demonstrations.

Assessment methods which enable students to demonstrate the
learning outcomes for the module; please define as necessary:

CW1: Practical assessment - Music Technology

Weighting:


35 %

Learning
Outcomes
demonstrated:

1,2,3,4,5,6,7
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CW2: Songwriting Lead Sheet plus Lyrics

CW3: Recital Performance of one song

15%

50%

2,5,8

2,5,7
Reading and resources for the module:

Core:
Cole, B. (2006). The pop composer's handbook. Schott & Co Ltd.
Rooksby, R. The songwriting sourcebook. Backbeat Books.
Recommended:
Runswick, D. (1992). Rock, jazz and pop arranging. Faber.
White, P. (2002). Midi for the technophobe. Sanctuary Publishing, London, ISBN1860744443.
White, P. (2002). Recording & production techniques. Sanctuary Publishing, London, ISBN1860744435.
Borwick, J (ed). Sound recording practice. Oxford University Press.
Harnsberger, Lindsay C. (1976). Essential dictionary of music definitions. New York: Alfred Pub Co, ISBN0882847678.
Clackett, D. Handbook of midi sequencing.
Black, D, Gerou, T. (1998). Essential dictionary of orchestration. New York: Alfred Pub Co, ISBN0739000535.
Millward, S. (1998). First guide to cubase VST. PC Publishing.
Gerou, T, Lusk, L. (1996). Essential dictionary of music notation. New York: Alfred Pub Co, ISBN: 0882847309.
Sebesky, D. (1984). The contemporary arranger. New York: Alfred Pub Co, ISBN0882844857.
Alder, S. (2002). Study of orchestration. New York: W.W. Norton & Co, ISBN039397572X.
Owsinski, B. (1999). The mixing engineers handbook. New York: Music Sales Limited, ISBN0872887235.
White, P. (2001). Home recording made easy: Professional recordings on a demo budget. London, Sanctuary Publishing,
ISBN1860743501
Middleton, R. (1990). Studying popular music. Open University Press.

Indicative learning
and teaching time
(10 hrs per credit):
Activity
1. Student/tutor
interaction, some of
which may be online:

36
Activity (e.g. lectures/seminars/tutorials/workshops/studio work/moderated online discussions, online
chat etc):

Music Technology Lectures, Technical Demonstrations, Songwriting Tutorials, Performance


2. Student learning
time:


164 hours
Activity (e.g. seminar reading and preparation/assignment preparation/ background
reading/ on-line activities/group work/portfolio/diary, studio work etc):

Gathering Information, Analysing Music, Listening, researching artists/repertoire, stylistic
appreciation 64hrs
Technology Practising use of key software packages - 48hrs
Portfolio - Assignment preparation - 52hrs
Total hours (1 and 2):

200