MD6004 - Project Development: Music Technology (2018/19)
|Module specification||Module approved to run in 2018/19|
|Module title||Project Development: Music Technology|
|Module level||Honours (06)|
|Credit rating for module||30|
|School||School of Computing and Digital Media|
|Total study hours||300|
|Running in 2018/19||No instances running in the year|
The purpose of this module is to permit intellectual, practical and professional development at Level 6 of the skills, tools and methods of a professional-standard music technologist in the realms of Music Production and Sonic Arts, also working to help in the realisation of the Final Project in its parallel module FC6P01. Working independently, under supervisory guidance, students are encouraged to experiment, thus making them to think critically about different aspects of music technology and its relationship with their specific path in the field.
This module offers Students the choice between year-long directive led “live” projects or a combined project with a short period of professional activity such as employment, a work placement, professional training, or volunteering in the not-for-profit sector.
Aspects of work related learning (WRL) fill this module, developing the skills of professional practice in the sectors of Music Technology and so central to the module is a deep understanding of the student’s creative and critical practice in relation to future employment, self-employment, and other cultural contexts. Knowledge of these contexts will be gathered during the course at levels 4 and 5. This knowledge will be used to inform choices and decisions, quality and mode of presentation.
Aims of the Module:
● Permit Level 6 students opportunity and capacity, under supervisory guidance, to consolidate the critical and practical knowledge and understanding needed to adequately conceive, plan and eventually realise major studio projects in their field of specialism within Music Technology, as an appropriate summation of their degree studies.
● Facilitate Level 6 achievement, thus equipping future-graduates for professional work in their chosen field within Music Technology and with the attributes of independence needed to effectively analyse and communicate the relevance of their work in context.
● Further extend students’ ability to present project proposals and reflective commentary to an advanced, graduate-level of understanding, demonstrating knowledge of relevant academic and professional contexts.
● Develop students’ abilities to a graduate-level, permitting to mature integration and understanding of critical, commercial, technical and creative processes and knowledge in parallel to the major Project being developed in their route of specialism within Music Technology.
● Enhance and extend their learning experience by applying and building on their academic skills and abilities by tackling real life problems in a professional working environment.
● Undertake a work-related project or training appropriate to their academic level.
● Gain a useful experience of the working environment and the career opportunities available on graduation.
Prior learning requirements
MD5001 - Creative Studio Practice 2
The syllabus will depend on the student’s specific specialism within the field of Music Technology and the Music Production and Sonic Arts pathways. It is also based on a core structure developed in the subject-based context of the Work Based Learning. A “Learning agreement” produced and approved before the work begins, will specify the way in which the outcomes will be developed and how they will be evidenced.
Key subject areas:
● Instruction in professional development and preparation for careers as composers, music editors, music supervisors, sound designers, sound editors, producers, managers, and agents. LO1, 5
● Topics on the protection and commodification of music and film distribution, including publishing, copyright, work registration, cue sheets, performing rights, royalties, unions, music law and contracts, promotion and marketing, professional networking, grant applications, conferences and festivals, and finances. LO1, 5
● Project management – working with a brief, whether provided by the module leader or industry professionals and artistes to outline their creative vision and goals within determined timelines. LO1, 3, 4, 5
● Websites, online logs and portfolio of works – keeping logs of works in online digital formats to build a professional portfolio of works and display their work appropriately. LO1, 2, 3, 6
● Make informed decisions about career planning as a result of real life working practices. LO5
For the Music Production pathway specifically, this includes:
● Recording techniques and studio practice – using the knowledge and skills learnt at levels 4 and 5 to put into practice a client recording LO1, 3
● Audio post-production (Audio editing, mixing and mastering) – finalising client recordings into a professional packaged product LO1, 3
● Preparation of Studio Logs, Channel lists, Technical riders and weekly plans. LO2, 4, 6
For the Sonic Arts pathway specifically, this includes:
● Sound design, including Foley, sound effects (FX) and automatic dialogue replacement (ADR). LO1, 3
● Film music – composition and arrangement. LO1, 3
● Preparation of Project proposals, Sound maps, Dubbing Sheets and weekly plans. LO2, 4, 6
Balance of independent study and scheduled teaching activity
The balance between independent study and scheduled teaching activities within this
module is 70% and 30% respectively. Scheduled learning & teaching covers the first 6 taught weeks of project specific content the student requires to achieve, subsequently followed by weekly one-to-one tutorials and seminars. The scheduled teaching is divided in Lectures, Workshops, and Seminars and they take place in the classroom and Computer Labs.
The module is supported by the module team who undertakes pre- and post-placement induction and debriefing sessions and provides on-placement support though e-mail, telephone contact, drop-in sessions and individual appointments. The student is assessed by the module team.
Independent study provides students with the opportunity to develop LO4 - Demonstrate they can operate effectively as an independent learner in a supervised learning environment, including the selection and application of appropriate methods and procedures to required tasks. For example, by working on their own Music Technology practices self-sufficiently and reviewing them against real life practices. When a work related learning opportunity is gained and an Employer/Client/Supervisor is identified before the start of the work, the student needs to email the module leader the “Learning agreement” form and relevant “health and safety checklist” if applicable. The “health and safety checklist” is needed if students carry out learning activities externally. Forms need to be approved by the module team before the learning activity starts. Each student will be assigned an academic supervisor who will look after the student throughout the process. During the learning process, students need to keep a record of the activities carried out at work (in a learning log for instance), reflect on it and reference them to the agreed learning outcomes in the learning agreement. The employer will produce an end-of-placement feedback to evaluate the knowledge and skills demonstrated by the student.
For the specialist portion of the module, students have access to the entire Music Studios facilities via online booking system, and Library facilities at London Met. Blended Learning is maintained via Weblearn Course and Module pages with full documentation of the activities developed in class.
Opportunities for reflective learning/PDP are promoted through feedback and written reports, embedded in all assessments with emphasis on reflection of their work. Formative assessment and feedback is planned to address their learning development needs and to capture their learning achievements with a regular request of reflective commentaries in all written submissions.
On completion of this module, students should be able to demonstrate:
LO1. The skills and understanding needed to plan, research & develop, and realise work of a graduate standard in the correspondent parallel major Project module within the field of Music Technology, thus producing work of a professional quality, relevant to their vocation.
LO2. The ability and insight to be able to describe their work to a high standard. For example, so that they could apply for funding or continue to postgraduate research.
LO3. The skills, knowledge and insight to achieve work that is critically, technically and creatively challenging.
LO4. Demonstrate they can operate effectively as an independent learner in a supervised learning environment, including the selection and application of appropriate methods and procedures to required tasks.
LO5. Demonstrate a good understanding of the social and professional aspects in the work-related activities.
LO6. Reflect upon and critically appraise the work undertaken, and their personal development
Formative Assessment 1
Students are asked to submit their project proposals (800-1000 words) in week 4 and following reflection on their feedback given in week 5, will draw up the Learning Agreement for their project with the tutor.
Formative Assessment 2
Students are expected to submit the initial stages of work on their projects in week 11 for formative feedback (practical component only). The intention is to review the works in their current stage for the first Formative Feedback in December. It is expected that the works would be in their earliest stages, but it is very important that we make strategic assessments so that students can keep track and have a record of their works in progress.
Formative Assessment 3
Midterm submission week 23 (practical component only). The Second formative feedback on students in-progress projects. It is expected that the works would have passed their earliest stages here and students on placements will be able to provide a report on their progress. This assessment allows students to focus on the affective means of production in their projects entering the final part of the year.
Practical outcome and report/workbook
Final submission due in week 30, dependent on the project specific Learning Agreements but will contain the final practical outcome of the projects, detailed report and reflective log.
(circa 4000 words or equivalent, including proposal, plan of works, project brief, description and analysis of project development in the form of a reflexive chronicle)
Bartlett, J. & Bartlett, B. (1999) On Location Recording Techniques, Focal Press
Durrant A., Rhodes G., Young D. (2011), Getting Started with University-level Work Based
Eargle, J. (2004) The Microphone Book: From Mono to Stereo to Surround, A Guide to Microphone Design and Application, Focal Press
Fanthome C., (2004), Work Placements: A Survival Guide for Students (Palgrave Study Guides), Palgrave Macmillan, ISBN-10: 1403934347
Helyer R., (2010), The Work-Based Learning Student Handbook (Palgrave Study Skills), Palgrave Macmillan, ISBN-10: 0230229565. [2nd edition 2015: e-book]
Moylan, W. and Moylan, W. (2007). Understanding and crafting the mix. Amsterdam: Elsevier/Focal Press
Murch, W. (2005) Dense Clarity - Clear Density, in: Transom Review – Vol. 5/ Issue 1
Owsinski, B. (2017) The Mastering Engineers Handbook, 4th ed., Bobby Owsinski Media Group.
Owsinski, B. (2017) The Mixing Engineers Handbook, 4th ed., Bobby Owsinski Media Group.
Owsinski, B. (2016) The Music Producer’s Handbook, 2nd ed., Applause Theatre Book Pub.
Owsinski, B. (2017) The Recording Engineers Handbook, 4th ed., Bobby Owsinski Media Group.
Rumsey, F. (2014) Sound and recording: applications and theory, 7th ed., New York ; London : Focal Press
Senior, M. (2011) Mixing Secrets for the Small Studio (Sound on Sound Presents...), Focal Press. [2nd edition 2018 paperback due August 2018]
Sonnenschein, D. (2001) Sound design: the expressive power of music, voice, and sound effects in cinema, Michael Wiese Productions
Tomlinson, H. (2008) Surround Sound / Up and Running, Focal Press
Woodhall, W. (2010) Audio Production and Postproduction, Jones & Bartlett Publishers
Amyes, T. (1990) The technique of Audio Post Production in Video & Film, Oxford, Focal Press. [2nd edition, 1998]
Borwick, J. (1994) Sound Recording Practice, 3rd ed., Oxford
Hagen, E. (1990) Advanced Techniques for Film Scoring: Book & CD, Alfred Music Publishing, Los Angeles.
Huber, D. & Runstein, R. (2002) Modern Recording Techniques, Focal Press. [9th edition, 2017: e-book]
Massey, H (2000) Behind the Glass: Top Producers Tell How They Craft the Hits, Backbeat Books
Massey, Howard (Ed.) (2004) The Recording Academy's Producers & Engineers Wing,
Rose, J. (2002) Audio Post Production for Digital Video, Focal Press
Rose, J. (2008) Producing Great Sound for Film and Video, 3rd. ed., Amsterdam ; London : Elsevier, Focal Press
Rumsey, F. (2014). Sound and recording: applications and theory, 7th ed., New York ; London : Focal Press
Senior, M. (2014) Recording Secrets for the Small Studio (Sound on Sound Presents...), Focal Press
Wyatt, H., Amyes, T. (2005) Audio Post Production for Television and Film: an introduction to technology and techniques, 3rd Ed., Amsterdam ; Oxford : Focal Press
Yewdall, D.L. (2012) Practical Art of Motion Picture Sound, 4th Ed., Waltham, MA : Focal Press [e-resource]
Dolby (2005) 5.1-Channel Music Production Guidelines, Dolby Laboratories Inc. All. Available online: http://www.voesd.at/files/Multichannel_Music_Mixing.pdf
Social Media Sources