TOPIC STUDY 2A - 2019/0
Module code: MUS2061
Music and Media
BARHAM JM Dr (Music & Med)
Number of Credits
FHEQ Level 5
Module cap (Maximum number of students)
Overall student workload
Independent Study Hours: 128
Lecture Hours: 22
|Assessment type||Unit of assessment||Weighting|
|Coursework||ESSAY (3000 WORDS)||100|
Prerequisites / Co-requisites
None for Music and Tonmeister students
The purpose of this module is to build on the knowledge and skills you have acquired in FHEQ 4 in research methods, discussion, and writing about music of the Western classical tradition or popular repertoires through the study of a single work or a small group of works the study of a single album or group of tracks and its/their various contexts. The module provides further foundation for historically based study at FHEQ 6.
Indicative topics include:
The aim of this module is to develop critical awareness and understanding of issues in the history, aesthetics and techniques of jazz from the late 19th century to the present day. Module content focuses on the critical study of issues in the history, aesthetics and performance of jazz, including:
• Development of jazz style (blues, gospel, ragtime, New Orleans, Swing/Big-Band, Bebop, Cool/Modal, Soul Jazz, Free Jazz, Jazz-Rock Fusion, Neoclassicism, World/Ethnic Jazz, Jazz-Hip-Hop, Acid Jazz).
• Techniques of swing, blue tonality, construction of improvised solos, texture and harmony.
• Major artists/groups such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, John Coltrane, Ornette Coleman, Weather Report, Wynton Marsalis, John Mayer, Courtney Pine.
• Surrounding cultural contexts such as slavery, world wars, civil rights movement, drug culture, academia and institutionalizing of jazz.
The purpose of this module is to introduce you to the theory and fundamental musical mechanisms of specific musical traditions from around the world.
Module content includes sessions on the history, cultural issues, musical concepts and analysis of specific world music traditions including the Ewe, Ashanti, Shona, Jali and Baka traditions of Sub-Saharan Africa, Hindustani and Carnatic Classical Music, Javanese Gamelan, Bulgarian Horo, Flamenco, Maqam, Japanese traditional music, Tuvan throat-singing, Afro-Cuban and Brazilian music. How some of these music cultures have influenced various composers and genres of ‘Western’ music including Debussy, Béla Bartók, Toru Takemitsu, Steve Reich and the blues and jazz traditions is also addressed.
English Music from Elgar to Britten:
The purpose of this module is to enable you to develop analytical, music-historiographical, and critical skills in relation to a delimited repertory – English music from Elgar to Britten.
Module content includes:
Introduction: English music at the end of the 19th century; module aims and themes.
Elgar: the influence of Brahms and Wagner; his approach to form and tonality; the topics of public v. private and melancholy; Englishness; patriotism; the institution of the symphony.
Vaughan Williams: stylistic elements (folk song, French influence, English Renaissance music); nationalism; his approach to symphonic writing.
Holst: modality; his relationship with modernism; melancholy.
Britten: eclecticism; brilliance and professionalism; recurring dramatic and poetic topics; homosexuality.
Tippett: music and metaphor; engaging modernism – mosaic form.
Develop your knowledge of approaches to the historical, cultural, and technical understanding of music from the Western classical tradition or popular repertoires.
Further develop your skills and confidence in discussing Western classical music or popular repertoires in oral and written form to a level suitable for study at FHEQ level 5.
|1||Discuss a range of historical and technical issues identified regarding the work or works or album of tracks examined in the module.||KCT|
|2||Undertake the research and thinking required to formulate a suitable coursework essay topic.||CT|
|3||Construct a cogent argument in written form.||KCT|
|4||Demonstrate the ability to access physical and online research resources in the library and through the library webpage.||T|
|5||Cite and reference the work of others correctly||T|
|6||Compile a bibliography following departmental guidelines.||T|
C - Cognitive/analytical
K - Subject knowledge
T - Transferable skills
P - Professional/Practical skills
Indicative content includes:
What it might mean to understand music.
The roles and limits of contextual enquiry and close reading.
Reciprocal relationships between contextual enquiry and close reading.
Ways in which understanding popular music might be different from understanding music from the Western Classical tradition.
The relationship between lyrics and music in popular genres.
Selection of appropriate approaches for the study of popular music tracks.
Selection of appropriate approaches for the study of particular works.
Examination of a selected work or small group of works using a variety of approaches.
Methods of Teaching / Learning
The learning and teaching strategy is designed to:
Develop awareness of some of the intellectual means by which understanding of music is sought and achieved, and to develop the ability to employ some of these means to inform discussion of the selected work(s). This will involve directed reading and listening, class discussion, and the formation of critical responses to secondary literature in the coursework essay. The strategy will also reinforce techniques and styles of academic writing and analysis introduced in the FHEQ 4 modules Encountering Music History, Music Project 1A, and Topic Studies 1A and B that are critical to success in FHEQ levels 5 and 6.
The learning and teaching methods include:
Lectures, incorporating class discussions as appropriate (2 hours per week x 11 weeks)
Tutorials, during which you will formulate, under guidance, your coursework essay topic.
Guided reading and listening.
Use of SurreyLearn.
The assessment strategy is designed to provide you with the opportunity to demonstrate your knowledge and understanding of the issues surrounding academic study of music through engagement with selected work(s) and their contexts.
Thus, the summative assessment for this module consists of:
A coursework essay with a maximum length of 3000 words (100%), to be submitted by the Monday of week 12. (Addresses learning outcomes 1–6.)
An essay plan and bibliography, to be submitted by the Monday of week 7.
Detailed written feedback will be provided within three weeks of both the submission of the formative and summative assessment.
Verbal feedback will be given to contributions during class discussions as well as individual tutorials on coursework essay plans.
Programmes this module appears in
|Music and Sound Recording (Tonmeister) BSc (Hons)||1||Optional||A weighted aggregate mark of 40% is required to pass the module|
|Music and Sound Recording (Tonmeister) BMus (Hons)||1||Optional||A weighted aggregate mark of 40% is required to pass the module|
|Music BMus (Hons)||1||Compulsory||A weighted aggregate mark of 40% is required to pass the module|
|Creative Music Technology BMus (Hons)||1||Optional||A weighted aggregate mark of 40% is required to pass the module|
Please note that the information detailed within this record is accurate at the time of publishing and may be subject to change. This record contains information for the most up to date version of the programme / module for the 2019/0 academic year.