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Music and creative music technology

Undergraduate study

Entry 2012


Key facts

Choices | 1

Music at Hull

Music at Hull | 4

Single Honours

Length

UCAS code

Creative music technology at Scarborough | 12

BA Jazz and Popular Music

3 years

W340 BA/JPM

BA Music

3 years

W300 BA/Mus

BA Music (including Foundation English Language)

4 years

W3Q3 BA/MFEL

Admissions | 20

BMus Music

3 years

W302 BMus

BA Music and Theatre

3 years

WW3K BA/MT

Drama and Music

3 years

WW34 BA/DMu

English and Music

3 years

QW33 BA/EMu

Music and Film Studies

3 years

WP33 BA/MFS

Music and French

4 years

WR31 BA/MFr

Music and German

4 years

WR32 BA/MGer

Music and Italian

4 years

WR33 BA/MIt

Music and Spanish

4 years

WR34 BA/MSp

Joint Honours

Further information Dr Mark Slater Department of Drama and Music University of Hull Hull, HU6 7RX 01482 465604 m.slater@hull.ac.uk

Further information (Scarborough)

Typical offers We normally look for three A levels (or equivalents such as BTEC), including Music, as well as Grade 7 standard or above (Associated Board or equivalent) on your first study instrument/voice. For the Jazz and Popular Music course we will accept either A level Music Technology or A level Music. A typical offer might be 280–300 points (equivalent to BBC– BBB at A Level or DDM from BTEC) for BMus and BA Single and Joint Honours programmes. See page 20.

Rowan Oliver 01723 357125 r.a.oliver@hull.ac.uk

Estimated places, entry 2012

Or

Creative music technology at Scarborough

Rob Mackay 01723 357390 r.a.mackay@hull.ac.uk

Programme

Length

UCAS code

Creative Music Technology

3 years

J931 S BA/CMT

Creative Music Technology with Business Management

3 years W3N2 S BA/CMTBM

Popular Music

3 years

Or write to Creative Music Technology University of Hull Scarborough Campus Scarborough, YO11 3AZ For urgent enquiries, contact the Admissions Office on 01482 466100.

Dates of semesters Semester 1 24 Sep – 14 Dec 2012

Semester 2 28 Jan – 10 May 2013

55

If you have a UCAS personal ID number, please quote it in all correspondence.

W341 S BA/PM

Typical offers For the three-year Single Honours courses, 240–300 points. See page 20.

Estimated places, entry 2012

60

If you have a UCAS personal ID number, please quote it in all correspondence.

Part-time study The BA in Creative Music Technology can be studied on a part-time basis, normally over a period of up to six years.


Choices There was a time when all university music departments offered a similar and quite limited range of courses. Now each tries to offer something distinctive. The University of Hull offers you two different and exciting possibilities.

Music at the Hull Campus At Hull, you can specialise in whatever area of music most interests you – performance, musicology or composition. Our degrees offer plenty of flexibility to make sure you get the most out of your time with us. They cover many aspects of Western classical music, as you would expect, but also include areas such as jazz and popular music, film music, orchestration and arranging, music technology and music psychology. Our Jazz and Popular Music degree allows for specialist study in performance, composition and music history, while also allowing you to explore the areas mentioned above. Each year we admit around 55 music students, which means we are large enough to provide an impressive range of activities yet small enough to maintain an informal and friendly atmosphere.

Creative music technology at the Scarborough Campus CMT at Scarborough gives you access to some of the most up-to-date music technology studios in higher education. The courses cover three main areas: technical, creative and critical studies. The underlying theory is that the interface – and indeed the studio – is a tool to facilitate creative work, and this is reflected in both the content and the structure of the degrees. The courses are structured to give you the freedom to create your own degree pathway by choosing from the modules offered by our elective system. This allows you to focus on a range of areas such as composition, performance, production and music criticism. It is even possible to elect to study modules from other courses within the School of Arts and New Media (see page 19), and you will be encouraged to collaborate with other arts practitioners through a number of modules which cover interactive technology, theatre performance and digital media.

International students The Language Learning Centre at the Hull Campus provides a range of courses in English as a Foreign Language, specially tailored to the needs of international students. It offers intensive English language courses for one, two or three months before the start of the academic year, focusing on English for Study and Research and English Language, Society and Culture. It also provides an in-sessional programme of language support, including English for academic study and business purposes, and a year-long intensive programme.

www.hull.ac.uk

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Theme and variations Our courses cover many aspects of Western classical music, as you’d expect; but we also encourage you to explore other areas such as film music and music technology. And if you want a break with tradition, we offer innovative degrees in jazz and popular music. Whatever path you choose, you’ll benefit from Hull’s distinctive emphasis on practical music making.


The University is the hub of music making in the region, organising dozens of public performances every year as well as workshops and masterclasses with the best in the business.


Music at the Hull Campus We offer five kinds of course: • BA Joint Honours (with drama, English, film studies or a modern language) • BA Music (Single Honours), with or without a year of Foundation English Language, for students who would like to major in music but would like the option of taking a small number of modules offered by other departments • BMus (Single Honours) for students who want to specialise in music • BA Jazz and Popular Music • BA Music and Theatre

BA Jazz and Popular Music This alternative to the standard BA in Music offers modules in jazz and popular music history, music technology, arranging and critical studies in music. You also study jazz and/or popular performance and composition (including songwriting), and there are many opportunities for collaboration with musicians specialising in different areas of music.

BA Music and Theatre This innovative degree allows you to explore performance, composition, and critical study engaging with a range of music theatre practices. It is designed for students who have strong interests both in music and in theatre or drama, and includes study of such areas as stage design and scriptwriting. This is a highly practical degree designed to get you working in a hands-on way right from the start.

Joint Honours Drama and Music Aside from numerous dedicated modules, this degree allows you to write and perform your own music for the stage, to learn about sound technology/editing for the theatre and to explore approaches to performance in drama and music.

English and Music This degree course is a great choice for those who wish to place significant emphasis on writing about literature and music but would also like to develop skills in creative writing, composing and/or performing.

Music and Film Studies As part of this degree, you will learn about the history and analysis of film music, the composition and performance of such music, and sound editing – all from both theoretical and technological perspectives. Hull provides a superb environment in which to undertake these studies, being home to Hull Film (an annual international short film festival) and having its own University-based Film Society. The course offers an excellent foundation for a career in the film or music industries.

Music and a modern language Fancy a year abroad? These four-year courses encourage you to apply language skills in a range of different contexts, and are popular with singers for obvious practical reasons. Our Language Learning Centre is one of the largest and bestequipped in Britain. For more information about the options open to Joint Honours students, please contact the department. For details about music modules, consult the ‘Single Honours’ section on page 6.

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‘I found exactly what I was looking for here at Hull: excellent supervision and academic support, as well as a whole range of performance opportunities to keep me busy as a cellist!’ Artemis Apostolaki

www.hull.ac.uk

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Single Honours Music Year 1 In Year 1 of a Single Honours course, you take six modules including • Music in Context (I and II) • Music in Practice (I and II) On the BMus course your other modules are • Introduction to Performance • Creative Music Technology On the BA course, you have the option of replacing one of these with a free elective in a different subject. For Joint Honours degrees, you take only three of the above music modules in the year.

Year 2 In Year 2, you study six modules. The list of options includes • • • • • • • • • • • •

Performance (I and II) Ensemble Performance Songwriting and Instrumental Composition (I and II) Orchestration and Arranging Conducting Classical Music Studies Romantic Music Studies Film Music Creative Music Technology Applications Jazz History History of Popular Music free elective (BA students only)

For Joint Honours degrees, you take only three of the above music modules in the year.

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Year 3 In Year 3, you study six modules from a list of options including • • • • • • • • • • •

Advanced Performance (I and II) Advanced Ensemble Performance Psychology of Music Performance Composing for Stage and Screen (I and II) Studio Techniques and Production Arts Enterprise Special Study Modern Music Studies to 1945 Modern Music Studies since 1945 Music and Critical Thinking free elective (BA students only)

For Joint Honours degrees, you take only three of the above music modules in the year. For details of your chosen joint subject, see the relevant prospectus entries or departmental pamphlets. For copies, write to the Admissions Service, University of Hull, Hull, HU6 7RX, call 0870 126 2000 or email admissions@hull.ac.uk.

Instrumental tuition In the first year, we normally provide tuition through a bursary scheme for lessons on a first instrument, plus a second instrument subject to audition. After the first year, tuition is provided for students taking Performance or Ensemble Performance modules. Students also have the opportunity to receive some specialist tuition on the department’s Renaissance and Baroque instruments.


Modules

(Advanced) Ensemble Performance

Conducting

Students work together in small ensembles as instrumentalists or vocalists and receive regular coaching sessions in preparation for practical assessments. In addition to the development of practical skills, you learn about historical and analytical issues relevant to group work as well as the development of social relationships in ensemble playing.

In this module you will develop practical and analytical skills relating to the conducting of Western art music. The focus is on effective and economical baton technique, leadership skills, score reading, and issues of style and interpretation. You will participate in workshops run by conductors with world-class reputations (such as Adrian Brown, Ronald Corp and Peter Stark) and will often take a lead role in running ensembles within the department.

(Advanced) Performance For this, you should normally be of at least diploma standard. You are encouraged to build up a large and varied repertoire, and are required to perform in University concerts and masterclasses. The final examination (Year 3) consists of a recital of 35–40 minutes before a public audience.

You will learn how to produce scores using Sibelius notation software and explore the use of Pro Tools audio editing/sequencing software for recording and composition.

Arts Enterprise

Creative Music Technology Applications

If you have an idea for a business in the arts, this module provides the support and guidance you need to get it off the ground. Students typically generate a business plan while exploring principles of finance for small businesses, legal issues and marketing strategies in a series of sessions led by visiting professionals. You also have the opportunity to participate in a work placement to gain a deeper understanding of how arts businesses work.

This module explores techniques of recording and mixing – you learn how to record both on location and in a recording studio. You also have the opportunity to learn techniques of synthesis, sampling and audiovisual work.

Classical Music Studies This module investigates the seminal Classical music forms and procedures and observes historical and cultural contexts – principally in the works of the three ‘greats’: Haydn, Mozart and Beethoven. The module introduces you to various analytical and critical methodologies, as well as performative issues.

Composing for Stage and Screen (I and II) In these modules you study composition for a range of large musical contexts. These may include the production of film scores, which can be realised using our studio facilities, or the generation of material designed to be staged in our performance spaces.

www.hull.ac.uk

Creative Music Technology

Film Music Focusing on both Hollywood and art cinema, this module introduces you to techniques of understanding music’s role in film and offers a representative selection of film examples. You will examine the ways in which music functions in cinema and address critical issues, including representation, manipulation, narrativity, subject positioning and gender construction.

History of Popular Music This module explores the development of popular music in the 20th century, from blues, rock and punk to Britpop, trip-hop and hip-hop.

Introduction to Performance Running throughout the first year, this module allows you to develop essential skills for performing: communication (presentation and deportment), interpretation, musical awareness, technical control, critical observation and self-reflection. You will receive tuition on up to two instruments (including voice) from specialist tutors (second study is subject to audition), culminating in a short performance.

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Jazz History

Orchestration and Arranging

This module explores the development of jazz from a historical perspective. The focus is on appreciating the musical working of jazz, through the study of recordings by musicians such as Louis Armstrong, Charlie Parker and John Coltrane.

In this module you will develop a theoretical and applied understanding of the orchestra/ensemble/band as a medium for the composition, transcription and arrangement of music. You also study arranging techniques and their application in different contexts, such as big-band and chamber ensembles.

Modern Music Studies (to/since 1945) The first of these modules explores music from around 1890 up to 1945; the second examines the development of Western art music from 1945 to the present day. Works by Debussy, Schoenberg, Berg, Webern, Stravinsky, Bartók, Carter, Tippett, Messiaen, Boulez, Stockhausen, Cage, Berio, Reich and other avant-garde and experimentalist composers are studied from analytical, historical and philosophical perspectives.

This module introduces you to psychological issues about music performance. The methods and techniques involved in sight-reading, practice and memorisation are studied, as well as the symptoms and treatments of anxiety. Other issues, including social and developmental aspects of training to be a performer, are explored.

Music and Critical Thinking

Romantic Music Studies

Broad in scope, this module aims to equip you with the ability to approach music critically and philosophically. In particular, it encourages you to question current beliefs and to ask why we think we understand music in certain ways, what might be motivating these assumptions and how best to reconcile current understanding.

This module examines the historical and cultural context of 19th-century music with reference to the Lied, programme music, the symphony, opera, piano music and other forms relating to this era. You continue to develop advanced analytical techniques begun in Classical Music Studies.

Psychology of Music Performance

Songwriting and Instrumental Composition (I and II) In these core modules you explore historical contexts from a variety of perspectives, acquire skills in research methodology and study the purpose and scope of historical study. The aim is to develop a sense of how the study of history is constantly evolving and to equip you with the skills necessary for independent exploration of musical works.

In these modules you study various contemporary compositional techniques, specifically relating to songwriting and composing for different instrumental combinations. The emphasis is on developing an individual style while gaining a thorough grounding in compositional technique relevant to contemporary music practice. Compositions are performed in University workshops and concerts.

Music in Practice (I and II)

Special Study

The range of music that we may encounter today is diverse, including all that has gone before and all that is currently being made. These modules seek to equip you with the skills to understand, engage with and explain such diversity by studying fundamental materials, components and patterns across a wide range of musical types. Core skills include awareness of the role of listening, applied listening, methods of notation, analysis and creative responses.

This module allows you to conduct a research project on a topic of your choice, under the supervision of a member of staff. The module teaches you research skills appropriate to your project. Most projects take the form of a 10,000-word dissertation, but practically based projects are also possible.

Music in Context (I and II)

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Studio Techniques and Production This module explores studio techniques in professional production. As part of this module you may record an album of your own material or undertake an extended recording project.


Performance, facilities and other benefits of studying at Hull

Performance at Hull Hull is distinctive within the university sector in that it places much emphasis on the practical and technical aspects of music making. Whatever your specialism, you can participate in a range of musical ensembles as part of your degree course. Ensembles include the Music Society Orchestra, an early music ensemble (singers and instrumentalists), a chamber choir, the Jazz Aesthetic (a 12-piece jazz ensemble), a contemporary music ensemble, a chapel choir, a wind band, a jazz choir, a big band, a flute choir, a clarinet choir and the Opera and Music Theatre Group, plus various other jazz, rock, funk and popular music bands. These ensembles feature regularly in University concerts and external events, such as the Humber Mouth Festival, the Edinburgh Festival, the Beverley Friary Festival and the Hull Jazz series; individual students also participate in the Hull Philharmonic Orchestra, the Hull Youth Philharmonic, York Opera, the Yorkshire Bach Choir and a number of award-winning local brass bands. Our students also benefit from the close links between Drama and Music, many of them being involved in collaborative projects, including music theatre and opera productions. The University itself is the hub of music making in the region. We organise up to 45 public performances every year and a regular programme of masterclasses and workshops given by some of the best organisations in the business, including Opera North and the University’s ensemble-in-residence, Hull Sinfonietta.

Facilities Technological facilities include • the Salmon Grove Recording Studios: control room with live recording space and linked mixing studio • two music technology computer labs with 17 workstations running Sibelius and Pro Tools software • a 5:1 surround-sound film composition studio • portable equipment for location recording • guitar/bass/keyboard amplifiers and PA system for performance The instrumental collection includes • a good stock of pianos, including Steinway and Yamaha concert grands, a digital baby grand and a Yamaha Disklavier grand (the last two can be used for MIDIbased research as well as normal concert performance) • three organs (on campus), including an excellent instrument of Classical design (housed in the chapel) and a chamber organ • many ‘early’ instruments (lutes, viols, Baroque strings, and numerous keyboard and wind instruments) • specialist modern wind instruments • drum kits and percussion equipment • a Studio Daphne 47 harp • three kora and a guzheng

www.hull.ac.uk

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Other resources include • well-equipped practice rooms • performing spaces such as the Recital Room, the Middleton Hall (featuring a large stage area for music theatre and opera productions), the Lindsey Suite, the University Chapel, the Donald Roy Theatre and workshop areas, and the students’ union (including the John McCarthy Bar and the award-winning Asylum nightclub) • a band practice room with drum kit, amplifiers and PA system • a percussion suite equipped with drum kit, marimba, xylophone, and a range of other percussion instruments • an impressive selection of CDs, DVDs and historic recordings on LP • music sections in the Brynmor Jones Library and the Keith Donaldson Library that contain impressive and wide-ranging collections of scores, collected editions, books on all aspects of music, and reference materials • IT facilities, available 24/7, 365 days a year

Scholarships Harp Scholarship The Harp Scholar contributes to the musical life of the department by playing in various orchestras and ensembles, giving solo recitals and participating in workshops exploring the capabilities of the instrument. The scholar has exclusive use of the department’s Studio Daphne 47 harp.

Organ Scholarship Every two years we appoint an Organ Scholar whose duties are to give recitals, to play at official occasions and to be responsible for the music in the University Chapel. The University Chapel Choir, which the scholar conducts, sings full choral services in the University and performs in various cathedrals such as Lincoln, Chester, York and Wakefield. The scholar also holds an assistantship at Beverley Minster.

Ouseley Choral Scholarship This scholarship is awarded to an advanced male singer. The scholar is expected to take a leading part in choral singing in the University and in the Chapel Choir, and is eligible for solo roles in choral and operatic performances. Duties include singing at official and informal occasions, participating in the University Choir, Chapel Choir and other vocal ensembles, and performing in recitals.

Robert Marchant Scholarship This scholarship is awarded to an advanced string player (violinist, violist, cellist or double bassist). The scholar is expected to take a leading role in orchestral and chamber ensembles in the University. Duties include playing at official and informal occasions, participating in the Music Society Orchestra and other ensembles, and performing in recitals and masterclasses.

Sir Thomas Beecham Music Scholarship This scholarship is awarded to the first-year undergraduate student who obtains the highest examination results after the first semester. It is normally limited to Single Honours music students who show exceptional promise.

Please visit www.hull.ac.uk/music for more details relating to music scholarships.

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Career prospects Hull music graduates have taken up a wide variety of careers, among them freelance performing, conducting, orchestral playing, orchestral management, the BBC, music librarianship, publishing, retailing, lecturing, classroom and instrumental teaching, music therapy, cathedral music and instrument making. The search for employment is aided by the support of an excellent Careers Service. Music graduates are also welcomed by employers in such non-musical fields as the Civil Service, accountancy, insurance and computing. Our graduates’ success rate in finding suitable employment is very high.

Music staff Dr Alex Binns, MA, MSt, DPhil (Oxford) Lecturer / Director of Postgraduate Studies Dr Alastair Borthwick, BSc (London), MMus (Sheffield), PhD (London), LTCL, ARCS Senior Lecturer / Head of Department of Drama and Music Dr Peter Elsdon, BMus, MA (Belfast), PhD (Southampton) Lecturer / Director of Undergraduate Studies Mr Michael Fletcher, BMusTech (Brisbane), GCHEd (Australia) Music Technician Dr Elaine King, BA (Durham), MMus (London), PhD (London), LGSM Senior Lecturer Heidi Lovell Music Administrator Professor Brian Newbould, BMus (Bristol), MA (Bristol) Emeritus Professor Professor Graham Sadler, BMus (Nottingham), PhD (Hull) Emeritus Professor Dr Mark Slater, BMus (Sheffield), PhD (Sheffield), PCHE Lecturer / Admissions Tutor Dr Lee Tsang, BA (Newcastle), MMus (East Anglia), PhD (Southampton), PGCert (EPD), FHEA Lecturer / Director of Performance Pam Waddington Muse, BA (York), MA (Hull), FTCL, LTCL, DipRSA Music Administrator Professor Christopher R Wilson, MA, DPhil (Oxford), FSA Director of Research / Assistant Director, Andrew Marvell Centre Mr Colin Wright, MA (Cambridge), MEd (Leeds), PGCE, FRCO, LRAM, ALCM, ARCM, DipRSA Research Fellow

www.hull.ac.uk

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Creative music technology at the Scarborough Campus We offer three Honours degree courses: • BA Creative Music Technology • BA Creative Music Technology with Business Management • BA Popular Music Whichever degree you choose, the music technology platform will give you regular opportunities to hear and perform your work using the department’s multi-channel sound diffusion system and PA. You will also have the opportunity to take part in visits to other universities and commercial recording studios, and travel to concerts in other parts of the UK. Creative music technology (CMT) is one of the most innovative and popular of the new degree areas on offer in the UK. Our courses attract around 400 applicants a year. Unlike some of the more engineering-oriented courses on offer elsewhere, CMT at the Scarborough Campus offers courses designed for creative musicians. There is plenty of flexibility in the degrees, allowing you to realise your creative potential in various fields, including songwriting, contemporary composition, film music, jazz, electronica, sonic arts and pop/rock musicology. At each stage you will be encouraged to make creative use of the latest technologies in sound recording, mixing, sound design, live electronics and multimedia, and by the end of the course you will be fully versed in the use of industry-standard hardware and software. As a student at the Scarborough Campus, you will not only be able to realise your creative ambitions with expert supervision; you will also meet other students from all areas of musical life, and work with other enthusiasts in collaborative projects. There is much emphasis on academic rigour and structured tuition, with timetabled lectures, workshops and regular assignments, but there is also plenty of opportunity to work independently in any of our newly equipped studios. You will be positively encouraged to produce work that is innovative and individual. By the third year you will be able to concentrate on an extended piece of work, the Long Study: this may be an extended dissertation, a portfolio of compositions (electroacoustic, audiovisual or acoustic), an interactive-technology project, or an original album of commercial standard.

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‘Being a student on the Creative Music Technology course here at the Scarborough Campus has really allowed me to broaden my learning abilities. The course is designed so I can choose individual modules specific to what I want to learn, which means I’ve really been able to apply myself to the best of my ability. The lecturers provide such a welcoming environment, and I have met so many inspiring people – making this an enjoyable learning experience.’ Kayleigh Orloff

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The courses

BA Creative Music Technology After first-year core modules in recording techniques and compositional study, you can choose from a range of options in the second and final years to develop your own pathway through the course. Second-year options include Creative Studio Production, Psychoacoustics, Sound Design for Games and Film, Audiovisual Composition, and Songwriting and Arranging. Final-year options include Live Sound, Global Pop, Composing for Film, Interactive Technologies and an independent study. The options are taken alongside a year-long extended project. In all three years further options are available, allowing you to engage in collaboration with students from other arts disciplines, including dance, theatre, English and digital arts.

BA Creative Music Technology with Business Management This degree builds a broad foundation in management through the first two years, and then gives you the opportunity to follow more specialised options – such as Arts Management – in the final year. You can thus combine the practical, studiobased elements of CMT with modules that aim to equip you with the skills and knowledge to manage business activities within the spectrum of careers in music technology. Students on this course also benefit from our links with local small and medium-sized businesses.

BA Popular Music This course offers a comprehensive grounding in contemporary popular musicology, musical analysis and performance practice. First-year modules deal with the basics of songwriting, performance and studio production, as well as providing a theoretical foundation for later work. In the second and third years you have the option to specialise. Your skills as a performer and musical practitioner are developed, and we provide a supportive framework within which you work on supervised projects including lyric writing, other forms of popular music composition, arranging, recording, production and critique. There are opportunities to engage in performance throughout the course, as well as to work with mixed media and consider various application domains including live sound, film and TV, radio and game audio.

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Facilities and other features of CMT at Scarborough

Facilities CMT currently has 11 music technology suites and studios. Resources include the following.

Studios • Three recording studios, including Pro Tools Control 24 and two 24-track systems along with ATC, Genelec and Mackie monitoring • Three mixing studios with Genelec 5:1 surround sound monitoring, ATC and Dynaudio stereo monitoring, Pro Tools Control 24 systems and overdub facility, also including Empirical Labs, Drawmer and TC Electronic outboard effects units • A 16:4 ambisonic surround sound studio with 3-D sound encoding and Lemur control surface • An electronica studio including Technics vinyl and CD decks, Pioneer mixer, Ableton Live, VCS3 synthesiser, Roland MIDI drum kit, Soundbeam and a range of other outboard effects and alternative MIDI controllers • A sequencing lab equipped with soft synthesisers and MIDI controller keyboards

Additional equipment • A selection of recording equipment, including top-of-the-range Neumann and Soundfield microphones • Portable recorders for location recording (stereo, binaural and 4-channel surround combinations available) • Computers equipped with Pro Tools, Cubase SX, Adobe Audition, Max/MSP/Jitter, Ableton Live, Komplete 7, Soundhack, GRM Tools and Waves plug-ins

Performance resources • Two soundproofed rehearsal studios with vocal PA systems and full backline • Individual practice rooms • Band equipment: guitar/bass/keyboard amps, turntables, stage pianos, acoustic pianos, five drum kits and samba percussion • Three multidisciplinary performance spaces with quadraphonic PA, MIDI lighting desk, digital video projector, I-Cube controller and four-beam ultrasound sensing kit Each studio provides both hard-disk recording – via Apple Macintosh computer resources – and digital multi-track facilities. All computers are equipped with CD and DVD writers, allowing easy transfer of work from one studio to another.

Teaching and learning Traditional teaching and learning methods, including lectures, seminars in groups of approximately 5–10, and one-to-one tutorials, are combined with practical studio-based workshops. Considerable importance is attached to encouraging a spirit of enquiry through directed study and research. Students are expected to spend up to 16 hours a week in the studios. A swipe card system allows access from 6 am till midnight seven days a week.

Assessment Modules are assessed through coursework assignments that combine practical composition and recording projects with critical and research-based essays, as well as performance assessments.

www.hull.ac.uk

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Course structure

Year 1 • • • • •

Electronic Composition (BA Creative Music Technology only) Popular Music, Criticism and Culture Studio Production 1 Studio Production 2 Words and Music from Dowland to Dylan (BA Popular Music only)

Plus optional modules: • Elements of Popular Songwriting • Performance 1 • Free elective

Year 2 • Avant-Garde and Experimental Music • Rock Musicology Plus optional modules: • • • • • • • • • • •

Audiovisual Composition Creative Studio Production Interactive Technology (BA CMT only) Music Industry Studies (BA Popular Music only) Performance 2 Performance and Creative Technologies Collaboration 1 Psychoacoustics and Studio Design (BA CMT only) Songwriting and Arranging Sonic Arts Sound Design for Games and Film Free elective

Year 3 • Creative Music Technology Long Study (on a topic of your choice) Plus optional modules: • • • • • • • •

Creative Music Technology Independent Study Composing for Film Global Pop Interactive Technology 2 Live Sound Performance and Creative Technologies Collaboration 2 Performance 3 (BA Popular Music only) Free elective

For the BA Creative Music Technology with Business Management, you will study four CMT modules a year plus a further two modules in Business Management.

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Modules

Audiovisual Composition

Creative Studio Production

provides you with the opportunity to create audiovisual compositions and to explore audiovisual mapping. Graphics software is taught as part of the module, providing a strong foundation for interdisciplinary modules and also for students interested in multimedia. You will be required to submit two audiovisual compositions for assessment.

normally requires a prior high grade in Studio Production 2. You will use cutting-edge hardware and software to learn advanced sound production and editing techniques, and you have a chance to work in a 5:1 surround-sound format.

Avant-Garde and Experimental Music surveys music from the last hundred years that has exhibited a particularly radical or experimental bent and thus has challenged compositional, aesthetic and/or social norms. The module explores a wide range of musical styles and genres, in part as a means of critiquing the conventional distinction often still made between popular and art music.

Composing for Film is a module which examines the history and aesthetics of film music. You will explore the creative and technical challenges of creating music for the screen and gain some insight into production processes. The module is supported by weekly composition workshops in which you compose music for specific dramatic contexts and discuss your work. The assessments include a short essay and an underscore for a film clip.

Creative Music Technology Independent Study gives you the opportunity to produce work in a different format from that adopted in your Long Study (for example, if the Long Study topic is composition, this module could cover aspects of musicology.) The module allows you to develop a particular area of interest by engaging in a sustained period of research with tutor support and supervision. Its outcome can take a variety of forms and is to be agreed through negotiation.

Creative Music Technology Long Study involves work on an approved extended project throughout your final year with tutorial support from your supervisor. The projects available cover all aspects of composition, audio recording and sound-for-picture covered on the course. You may also opt to submit a dissertation on a topic related to composition, popular music analysis/history or music technology.

www.hull.ac.uk

Electronic Composition introduces the practical study of composition through a variety of creative projects. All work is developed and evaluated through seminar-based ‘composition clinics’. There are also opportunities for workshop performances of live and recorded material.

Elements of Popular Songwriting considers aspects of popular song including genre, lyrics, form, harmony, melody, tonality, instrumentation and production technique. While there will still be opportunities for group discussion, the emphasis will be on your own compositional creativity, and you will produce a portfolio of your own songs.

Global Pop: Transcending Musical Borders introduces you to a range of non-Western music systems and the influence that they continue to exert on contemporary Western pop music. You will examine the historical development and cultural contexts of these systems, engage practically with performance and compositional aspects of selected styles and analyse the two-way cultural exchange which has resulted in hybrid popular music styles worldwide.

Interactive Technology 1 allows you to design your own interactive technologies through the use of the software environment Max/MSP. These might take the form of an interface which controls musical parameters or an interactive installation. Expanded MIDI and OSC control is covered, including the application of movement sensing as well as the appropriation of devices such as games controllers.

Interactive Technology 2 builds on work done in Interactive Technology 1, and introduces you to live video manipulation through Max/MSP/Jitter, as well as the programming of advanced interfaces such as the Lemur touch-screen controller. You will work in a group to produce an audiovisual installation for public engagement as well as working independently on your own creative projects.

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Live Sound

Rock Musicology

covers the theory and practice of engineering for amplified instruments in a live-performance situation. You will develop practical skills through weekly workshops, and your understanding will be enhanced through theoretical instruction in lectures.

gives a historical overview of various strands in the development of popular music plus a review of recent writings in critical and analytical musicology.

Music Industry Studies puts you in control of a ‘record label’, encouraging you to assume various roles in order to promote and release new music. You will learn aspects of industry practice through first-hand experience, supported by input from music industry professionals at key points during the semester. Assessment methods include an essay and a reflective diary, thereby combining the theoretical and practice-led elements of the module.

Songwriting and Arranging invites those who gained good grades in Elements of Popular Songwriting to pursue the subject further. The emphasis will be on your own independent projects, and we will discuss the work of contemporary songwriters in a critical forum. You will bring your own music and lyrics to our peer-review workshops, and produce an EP to a professional standard. This is technically an optional module, but is highly recommended if you plan to offer an album of original songs in your final year.

Sonic Arts Performance 1, 2 and 3 develop performing skills – classical, jazz or popular – in terms of technique and musicianship. Each module involves working in a group throughout the semester, rehearsing regularly and performing in workshops with course tutors. The culmination of each module is an assessed public performance by the group.

Performance and Creative Technologies Collaboration 1 and 2 have an interdisciplinary focus and provide the opportunity for self-directed group exploration in the creation of collaborative performance work for public presentation, achieved through a system of mentoring, negotiation and tutor supervision.

Popular Music, Criticism and Culture

18

develops the skills and techniques acquired in the first year through the completion of an extended electroacoustic composition involving live performance and multi-channel sound diffusion.

Sound Design for Games and Film introduces you to standard industry practices and lets you explore some of the creative, technical and aesthetic challenges faced by sound designers working in the fields of games and film. This module has a strong vocational emphasis.

Studio Production 1 introduces you, through a series of theoretical lectures, practical workshops and seminars, to the techniques and equipment required for studio-based audio and MIDI recording, including the mixing desk, microphones, computer sequencing, sampling and digital hard-disk recording.

introduces you to a variety of critical and theoretical writings from the burgeoning field of popular music studies, tackling the ideas of thinkers as diverse as Adorno, Scruton, Frith and McClary. You will consider (among other things) definitions of musical art, issues of musical value, the idea of music as commodity, the relationship between music and other arts, concepts of musical influence, and the relationships between music and politics, gender, sexuality, ideology and religion. The music studied varies from year to year, but tends to be drawn from the field of rock and pop.

applies the theoretical and practical understanding of the recording process acquired in Studio Production 1 through a range of additional practical recording projects supplemented by theoretical lectures, with specific reference to sound synthesis, sampling and mixing. Consideration is also given to songwriting skills, production and arrangement.

Psychoacoustics and Studio Design

Words and Music from Dowland to Dylan

is concerned with how we perceive sound. Looking at various aspects of psychoacoustics, such as sound localisation, masking, speech perception, and music and emotion, you will learn how to relate these to audio recording and mixing as well as composition.

covers a general history of song. It supplements the more practical songwriting module at the same level, and in so doing provides a theoretical context for that module. This module is only available to students studying for the BA Popular Music.

Music and creative music technology

Studio Production 2


Staff and their interests

Supplementary modules A certain number of modules each year are taken as supplements to the CMT course. These options are designed to bring you into contact with students and teaching staff from across the School of Arts and New Media, including Digital Arts, English, Theatre and Performance Studies and Internet Computing. Topics may include An Introduction to Popular Culture, Creative Writing, Web Authoring, Postmodernism, Digital Arts and Film. These modules together give you a broad critical and cultural context for your specialist study, contribute to your analytical, critical, team-working and communication skills, develop your IT competence and further your ability to manage your own learning. This interdisciplinary element is a distinctive feature of the Scarborough School of Arts and New Media, made possible by the particularly close links between the courses in the school and our commitment to a broad understanding of the place of the arts in society.

Our staff have a variety of educational and industrial backgrounds, covering songwriting, recording, critical musical studies, electroacoustic composition and psychoacoustics. Specialists from the music industry and the recording industry also visit the department regularly. These specialists have ranged from professional composers and rock musicians to BBC producers and staff from Abbey Road Studios. Chris Jones, BA (Hull), Computer Lab Officer (AcademicRelated), is responsible for computers and software. Andrew King, BMus, PhD (Northumbria), MIET, CEng, Lecturer and Deputy Dean for Learning and Teaching, has interests in music technology and pedagogy. Rob Mackay, BSc (Keele), MMus, PhD (Bangor), Lecturer and Admissions Tutor, has research interests in electroacoustic composition including fixed media, instruments, live electronics, image, movement and theatre; he has played in a range of groups, collaborating with John Cale and supporting P J Harvey. Helen R Mitchell, BMus (Edinburgh), MMus (Liverpool), MSc (York), LGSM, HETC, FHEA, Lecturer, has research interests in film music/sound, composition and audiovisual interaction across a range of applications. Rowan Oliver, BA (York), FHEA, Lecturer in Popular Music and Director of Studies, has worked as a professional musician for the last 10 years, recording, touring, producing and composing for film. In addition to playing drums with Goldfrapp he has worked with Plaid, Paul Oakenfold and Polly Scattergood, and composed the score for the film Mouth to Mouth. David Plans, BA, PhD (UEA), is interested in using new techniques in computational musicology as methods for composition. His teaching focuses on software and hardware practices for digital musics, and lately he has built his own chordophonic contraptions. Howard Wilde, BA (Oxford), MMus, PhD (London), has interests in theory and analysis; 16th-century style study; analytical issues in early music; 19th-century German song; and popular songwriting. Alan Young, BA (Hull), Studio Director (AcademicRelated), runs the department’s studios.

www.hull.ac.uk

Music and creative music technology

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Admissions

Hull courses Please state within your UCAS application what instruments you play and what practical exams you are entered for or have recently taken. We normally look for three A levels (or equivalents such as BTEC), including Music, as well as Grade 7 standard or above (Associated Board or equivalent) on your first study instrument/voice. If you wish to pursue the Jazz and Popular Music course we will accept either A level Music Technology or A level Music. A typical offer might be 280–300 points (equivalent to BBC–BBB at A Level or DDM from BTEC) for BMus and BA Single and Joint Honours programmes. Mature students who may not match the above criteria are welcome to apply if they have appropriate musical experience. Grade 8 or above in Music Theory may be accepted in lieu of A level Music. On receipt of a UCAS application, we will normally invite you to attend an interview day. This will involve a choice of interview session (e.g. a tutorial in performance, composition, history/analysis or studio technology), a presentation and DVD show, as well as a tour of the campus with music students. The interview days provide opportunities for you to ask questions about studying music at Hull and to share your enthusiasms for music with staff and students.

Scarborough courses The normal entry requirements are three A levels, usually including Music or Music Technology. Appropriate GNVQ and BTEC qualifications, including the BTEC National Diploma in Music Technology, Popular Music, Performing Arts and Media Studies, are equally acceptable. We also consider direct entry to Year 2 of the programme for students who have successfully completed a BTEC Higher National Diploma in a relevant subject. Our typical offer is currently around 240–300 points at A level (CCC–BBB or equivalent) or a pass at BTEC ND with a minimum of three merits overall. However, offers vary depending on musical expertise, and any relevant experience in sound recording, composition and/or songwriting will be taken into consideration. Grade 8 (Associated Board or equivalent) on an instrument is desirable and will count towards your tariff. We welcome applications from mature students, and we may consider making an offer based on work or practical experience in lieu of A levels. Musical literacy to around Associated Board Grade 5 Theory is also expected. All successful applicants will be invited to one of several open days, when they are free to look around the facilities and meet our staff.

Open days We encourage prospective applicants to attend a University open day, where you will have a tour of the campus, meet with members of music staff and attend a presentation about studying music at the University of Hull. You will also find out about musical opportunities in the University and wider region, tour the music facilities and be able to ask questions about the music programmes. The open days provide other essential information, including details about computer and library facilities, accommodation, support services and career opportunities.

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Music and creative music technology


Free Elective Scheme Studying for a degree at the University of Hull is a unique experience. We aim to provide you with an education that offers both depth and breadth of knowledge. To meet these ends the University has developed an optional Free Elective Scheme. This scheme enables the majority of undergraduate students to take one module a year from outside their main course of study.

Admissions policy Admissions information provided in this pamphlet is intended as a general guide and cannot cover all possibilities. Entry requirements are generally stated in terms of A

So, how does it work?

level grades and/or UCAS points,

Each year you take 120 credits’ worth of modules.

but we encourage applications from people with a wide range of

SEMESTER 1

SEMESTER 2

other qualifications and/or

20 credits

20 credits

the various entry routes are

20 credits

20 credits

experience. Some further details of

included in our general prospectus. Please contact the Admissions Service (see below) with any

20 credits

specific queries about admissions.

20 credits

Disclaimer

Here you take modules from your main course of study.

Here you have the option to take a free elective or another module from your main course of study.

This publication is intended principally as a guide for prospective students. The matters covered by it – academic and

What sort of subjects can I take? You can take almost any free elective module from outside your main course of study, usually at your home campus. You can even take a module from another faculty. The catologue of free electives might include

Hull • • • • • • • •

History through Film The Novel from Austen to Hardy Computer Games and Technology Computers and Applications Introduction to Psychology The Middle Ages Go to the Movies 1 and 2 Art and Architecture in Context Education, Education, Education – Historical Background to Current Problems in Schools

otherwise – are subject to change from time to time, both before and after students are admitted, and the information contained in it does not form part of any contract. While every reasonable precaution was taken in the production of this brochure, the University does not accept liability for any inaccuracies.

Address For general enquiries, please write to Admissions Service University of Hull

Scarborough • • • •

Event Management Introduction to Poetry Dive Training Career Management Skills

What are the main reasons for participating? • The scheme gives you the opportunity to study a subject without having to commit yourself to taking further modules in that subject area. • By taking a free elective you are able to follow up your interests as part of your degree. • With a broader education you may acquire extra skills that will help you when you enter the employment market.

Hull, HU6 7RX T 01482 466100 F 01482 442290 E admissions@hull.ac.uk


Our music degrees are rated second in the country for teaching quality and overall student satisfaction. That ought to strike a chord.

Change the way you think.

www.hull.ac.uk

UG Music 2012_Layout 1  

Entry2012 Undergraduate study

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