Programme Specification

BA (Hons) Music Journalism

Contents Page

BA (Hons) Music Journalism Programme Specification Form B 3 BA (Hons) Music Journalism Teaching and Assessment Structure 32 BA (Hons) Music Journalism Module Leadership 37 BA (Hons) Music Journalism Module Documents – Level 4 38 BA (Hons) Music Journalism Module Documents – Level 5 69 BA (Hons) Music Journalism Module Documents – Level 6 102

FORM B

Programme Specification

Please refer to the ‘Guidance Notes for the completion of required Validation documentation’ when completing this form.

Name of final award: BA (Hons) (e.g. FdA / FdSc / BA(Hons) / BSc(Hons) / MSc)

Programme title: Music Journalism e.g. (Digital Media Arts)

Level: 4, 5 & 6 Credits: 360

Exit awards, level and Certificate of Higher Education – 120 credits credits: Diploma of Higher Education – 240 credits (where applicable) Ordinary degree – 300 credits Honours degree – 360 credits

School: London College of Music

Field: Popular Music Performance

Collaborative Partners: BIMM London (where applicable)

Note: Approval for a collaborative partner to deliver a programme requires an additional approval event.

Document version: 2.0

Date document completed: 15/11/2014

Document completed by: Simon Colam, Head of Education, BIMM London

1. Awarding body/Institution University of West London

2. Teaching institution BIMM London

3. Admissions criteria Minimum of 2 A-levels at grade C or above (240 UCAS points) or BTEC level 3 equivalent, and five GCSE qualifications at grade C and upwards, including English Language.

Candidates may also be required to attend an interview with the Programme Leader, either in person or via Skype.

Overseas students where English is not their native language must meet a minimum English language requirement of IELTS 6.0. We require a minimum of 5.5 to be achieved in each band.

BIMM London is in the continuous process of developing its support network for non-native English speaking students. This includes additional provision of tutorials and workshops based around the English language delivered by an experience practitioner (i.e. TEFL qualified tutor). BIMM London views its English language support for its non-native English speaking students as integral to its BIMM Tutorial Support Programme.

Applications by experienced practitioners without formal qualifications may also be considered through accreditation of prior experiential learning via the BIMM London APEL policy.

IELTS Score for International 6.0 with a minimum of 5.5 to be achieved in each band. Students

4. Codes UCAS Code A P500 UCAS Code B N/A JACS Code N/A Other N/A

5. Professional, Statutory and Regulatory Body accreditation (if applicable)

None

6. Career and progression opportunities The BA (Hons) Music Journalism will enable graduates to apply a distinctive writing style blending creativity, technique and purpose within a wide range of music journalism modes. Students will develop traditional writing skills, research methods, cultural appreciation and analytical perspectives applied to both established and new media formats. They will also apply a host of digital skills including graphics, video, audio and web design to real-world projects throughout the programme ensuring they are prepared for the expectations of the industry. It is anticipated that students will have developed an original platform for their writing by the end of the course, the development of which will be supported during their time studying at BIMM London. Throughout the course students will have regular and ongoing interaction with leading media industry and business practitioners, industry academics and project mentors. These interactions will both inspire and shape career strategies.

Graduates will be able to pursue many differing opportunities across the music journalism sector as:

• Freelance / staff music journalist • Online writer / blogger • Broadcaster • Presenter • Author • Digital content designer • Proof reader • PR / artist development

Opportunities exist for students to continue study within the remit of post graduate courses. Graduates can also explore teaching careers upon graduation or continue study on UWL’s PG Cert in Learning & Teaching

7. Location of delivery

BIMM London, Effie Road, London SW6 1EN

8. Mode of delivery (Copy and paste this symbol - )

Full-time  Part-time Distance learning Work-based learning*

Other If other, please specify:

*Work-based learning - if the programme includes work-based learning elements, please specify below: a. Is employment in a particular work role necessary to complete assessments? No

b. Are work placements an essential part of the programme? Yes – level 5: Engaging with Industry (WBL) Work related learning scenarios Via the level 5 Engaging With Industry module, students have the opportunity for real world work experience within a media organisation. Students will first discuss the approaches to and preparation for employment before working directly within a work placement organisation for weeks 10-29, sourced from a pool of BIMM London industry partners. In their placement organisation they will gain valuable first hand skills working on a real life project via a mutually agreed time plan (i.e. 1-3 days per week subject to availability).

With any industry placement all related procedures such as risk assessment, health and safety, safeguarding and DBS will be adhered to with overarching management of these issues delivered by BIMM London on the student’s behalf.

9. Planned programme duration Certificate of Higher Education – 120 credits – one 30 week academic cycle Diploma of Higher Education – 240 credits – one 30 week academic cycle Ordinary degree – 300 credits – one 30 week academic cycle Honours degree – 360 credits – one 30 week academic cycle

10. Sequencing within the academic calendar (Copy and paste this symbol - )

September only start  February only start September and February start

Other If other, please specify:

11. First date of delivery of the programme (month and year)

September 2015

12. Language of study

English

13. Links with External Organisations/Industrial Partners The Great Escape festival Liverpool Sound City 2000 Trees festival ArcTanGent MusicConnex Music Week I LUV LIVE Music Radar Brighton Music Conference Under The Bridge, Fulham The Courtyard, Hoxton Dublin Castle, Camden Music Managers Forum Strummerville (The Joe Strummer New Music Foundation) Music Producers Guild (UK) Music Managers Forum PPL PRS for Music Musicians Union Software and hardware by Apple Computers Software by Avid Audio hardware by Audient

14. Student support arrangements Undergraduate programmes Throughout their programme of study, each student will have access to a variety of sources of support depending on individual circumstances and needs. Alongside a College-wide support framework, which encompasses the programme leaders, the module leaders, the personal tutors, in-programme learning skills development and Personal Development Planning (PDP), all students will have at their disposal a variety of different support systems which depend on the nature of the programme.

The development of learning skills includes such techniques and activities as critical appraisal, reflection, literature searching, information technology, peer review, group work, presentation, research, practice/professional skills, note-taking, writing skills, electronic information retrieval, communication skills and independent study at home. These skills will be an integral part of learning programmes.

Students are expected to participate in an induction. This will introduce them to the requirements of their programme of study and will provide an opportunity to receive all the relevant programme documentation, visit the Library and meet and discuss requirements and expectations of their planned learning experience with the programme team.

BIMM London Tutorial Support The BIMM London Student Services department acts as the first point of contact regarding any issues, concerns or needs a student may experience and also runs BIMM London’s tutorial system. Students can book tutorials with the Programme Leader and key journalism, media, technology and business studies tutors.

The aim of the BIMM London Tutorial Programme is to support all students academically and pastorally and to ensure high levels of achievement and student satisfaction. All tutorials are recorded and notes are given to the student with a copy of any agreed action plans held in the student file. Student records are held confidentially in secure storage and accessed only by authorised members of the Student Services team and personal tutors.

BIMM London Pastoral Tutorials These tutorials provide support on any issues that might get in the way of succeeding at BIMM London (i.e. medical, financial, accommodation or other personal issues). The Student Services team delivers these tutorials and all have received basic counselling training. Where a member of the Services team identifies a serious issue they will make a referral to one of BIMM London’s professional counsellors.

Where punctuality or unprofessional behaviour is an issue those students will be called in to a pastoral tutorial to discuss any reasons for non-attendance and to be supported in getting back on track.

15. Aims of the programme BIMM is a specialist music college that aims to engage its students in a community of practice that connects them into the music industry and enables them to become creative and effective practitioners across a range of closely related disciplines. As with all areas of the creative arts popular music has changed dramatically over the last two decades in response to the evolution of digital technology and music journalism is no exception.

Music journalism is a specific and highly vocational subject that encompasses all aspects of journalism. Over the past ten years, with the growth of the internet, the sphere of journalism and music journalism has changed significantly – much akin to the wider music industry – and the successful journalist needs to be an all-rounder, self-reliant and proficient in many aspects of multimedia production. The online world has offered exciting new opportunities.

Music journalism has evolved to a point where a wider range of transferable and specialist skill sets are required of today’s professional music journalist. Previously, different functions associated with the production of media were assigned to individuals that made up a team. Today’s approach requires journalists to be proficient in a range of different functions in order to produce industry-ready media in isolation. The BA (Hons) Music Journalism aims to furnish students with knowledge of the history, theory, principles and practices of journalism and PR, together with the specific and transferable skills needed for a sustainable career in today’s music industry.

We feel this course will become an industry leader, as it aims to develop a solid base of the

8 required wider journalistic skills, ensuring those who graduate will do so ‘industry-ready’. Broader topics to develop underpinning knowledge such as law and ethics, writing and academic skills and research techniques are all key areas of focus, with students also undertaking modules distinctly relevant to the music industry, such as the nature of music journalism and PR, music history, digital literacy, the structure and working practice of the music business, music entrepreneurship and artist promotion and marketing. BIMM is very excited about the introduction of this course, with a passionate, knowledgeable and experienced team to train and motivate students behind it.

The course is designed to act as a direct springboard into employment and students will enjoy access to a wide range of unique opportunities allowing them to engage directly with the music industry, predominantly in the form of work placements and professional projects. The course itself is industry-facing and industry-serving in its nature, in line with other courses at BIMM, and BIMM’s wider strategic aims. It has the support of key players in the music industry including Andy Prevezer, Vice President of Press and Publicity at Warner Records (Neil Young, Fleetwood Mac, Green Day, Johnny Marr, Michael Buble); Barbara Charone, Director of MBCPR (Madonna, Pearl Jam, Kasabian, Elvis Costello, Depeche Mode, Paolo Nutini, Rufus Wainwright); Murray Chalmers, Director of MC PR (Kate Bush, Coldplay, Radiohead, Lily Allen); Richard Dawes, MD Dawbell PR (Sir Paul McCartney, Black Sabbath, Queens Of The Stone Age, Take That, The Horrors, The Brit Awards); Louise Mayne, Head Of Press Columbia Records (Bob Dylan, Foo Fighters, AC/DC, Kings Of Leon and Leonard Cohen); George Garner, Kerrang! Deputy Editor; Susie Ember, Head of Press, Polydor Records (Ellie Goulding, Snow Patrol, The Maccabees, La Roux) and Paul Stokes, Assistant Editor Q Magazine. All of these contacts have to date been in discussion with BIMM regarding future internships, work experience, workshops and industry talks.

Our philosophy is based on combining creativity, technology, theory and practice in a distinctive blend of teaching and learning. The course will benefit those students looking to further their chances of employment in a fast-paced, competitive and self-sufficient environment.

This course is designed to further meet the key aims of the BIMM strategic plan, including:

Aim 1 – to provide a specialist musical vocational education for students seeking a career in the music industry, and to continue to grow courses and connectivity to the music industry.

• To review and develop the curriculum to ensure continued relevance to the music industry and to further opportunities for full-time study of the music business providing a complementary set of programmes • To continue our emphasis on the teaching of high level specialist skills, while developing students in order for them to gain wider personal and professional experiences and transferable skills that increase their future employability • To embed an Artist Development approach to music education based on the realisation of realistic and achievable individualised career plans • To create positive links between all levels and areas of the curriculum in order to foster a dynamic creative community for students and staff at each of our centres • To continue to review and develop the quality of our resources and learning

environment in line with current commercial standards

Aim 2 – to maintain links with industry locally, nationally and internationally that will ensure the contemporary relevance and value of our programmes

• To maintain existing relationships and to identify new key industry partners and secure long-term support and engagement at curriculum design level • To ensure that all teaching staff have substantial and relevant industry experience and have attained or are working towards recognised teaching qualifications • To develop further formal work experience links within the music industry locally, nationally and internationally.

In addition to the above specific aims, the programme also aims to instil skills that form part of the both the BIMM London & UWL HE Graduate Attributes. These skills are wide ranging and are designed to prepare Graduates for employment within the global contemporary music industry. Please see page 27 for more information surrounding Graduate Attributes.

16. Content of the programme This course is highly specialist in nature and therefore does not include optional modules. However, as much of the work produced is project-based there remains a high degree of control and choice in what direction students take their work.

The modules all run over 30 weeks, in order that students may be allowed to develop projects within a realistic timescale while receiving support, guidance and formative critical feedback. This process mirrors professional practice.

The modules are designed to provide progression in line with the framework in the UK Quality Code whereby the core themes within the programme can develop over the three years.

These themes are:

• Writing – developing journalistic skills in print, online, TV and radio • Sourcing, researching, Interviewing and writing news, features, comment pieces and reviews • Biography, press release and artist campaign and management. • Online, radio and video documentary making, webzine building and management. • Computer design, editing and publication including magazine design and production • Audio visual and multimedia production • Business, academic, research and critical analysis skills • Presentation and leadership • The music industry and the business side of journalism, management and PR. • Project, team and personal management The BA (Hons) Music Journalism comprises six 20 credit modules at level 4, six 20 credits modules at level 5 with level 6 comprising four 20 credit modules and one 40 credit Project module. Students must achieve a pass (40%) in all modules comprising the programme.

At level four students are introduced to the music industry and roles within it and the core writing skills of journalism across online, print, TV and radio. The history and context of music

10 journalism, together with the theory and practice associated with these areas are addressed. Students will also develop research and debating skills, and are introduced to the use of computers, and software packages InDesign and Photoshop to develop multimedia skill sets. At level five students are introduced to the tools of analytical journalism and are able to engage effectively with industry practitioners and build a personal and career action plan. Journalistic skills are developed further, taking the learner through the launch of a magazine both in print and digital formats. Writing skills and styles are further developed and students will become able to understand and apply press and legal terms through their work. Music journalistic skills will also be employed in a PR context, to launch an artist’s press campaign and use software and hardware for multi-media production.

At level six students are expected to take a significant role in the direction of the module projects, the double weighted Professional Project in particular. This module is the culmination of the work in years one and two and is closely supported by the Personal and Business Development module. Analytical Perspectives examines the historical and technical development of music and its influence on culture and society, whilst encouraging the development of analytical and writing skills. The Creative Entrepreneurship module prepares the learner for work as a freelance music journalist.

Students are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Programme Leader and the individual student.

17. Module list and pre-requisites Module Title Code Level Credit Pre-requisites Core Optional s Music Business BIMM__1 4 20 none  Introduction to Music Journalism BIMM__ 4 20 none  Journalism in Context BIMM__ 4 20 none  Music Journalism: Principles and BIMM__ 4 20 none  Practice 1 Writing for the Music Industry BIMM__ 4 20 none  Music and Digital Media BIMM__ 4 20 none  Engaging with Industry (WBL) BIMM__ 5 20 none  Research Methods BIMM__ 5 20 none  Cultural Perspectives BIMM__ 5 20 none  Artist Development and PR BIMM__ 5 20 none  Music Journalism: Principles and BIMM__ 5 20 Music Journalism:  Practice 2 Principles and Practice 1 Digital Media Production BIMM__ 5 20 Music and Digital  Media Professional Project BIMM__ 6 40 Research Methods  Professional Development BIMM__ 6 20 none  Analytical Perspectives BIMM__ 6 20 Cultural  Perspectives Creative Entrepreneurship BIMM__ 6 20 none  Global Communication BIMM__ 6 20 none 

The curricular proposal for the BA (Hons) in Music Journalism has been informed by HE Staff, as well as consultants from the world of Music Journalism. Feedback from students and staff has also informed the inclusion of pre-existing modules on the programme. The aim is to create a streamlined and industry-facing programme of study that includes a high level of academic and practical-based work, which will prepare graduates for successful employment in the music industry.

1 Please note that BIMM is currently revisiting its module coding to a new system – full module codes will be in place for module validation.

18. Programme Learning Outcomes Level 4 Relevant modules A – Knowledge and A1. Describe the varied role of a music Music Business LO3 understanding Introduction to journalist, showing an awareness of multimedia Music Journalism platforms and technologies LO1, LO2, LO3 Journalism in

Context LO1, LO2 Music Journalism: Principles and

Practice 1 LO1, LO2 Writing for the Music Industry LO2 Music and Digital Media LO1, LO2

Music Business A2. Identify practices and principles within LO1, LO3 Introduction to professional contexts including historical, social, Music Journalism cultural, ethical and legal (including defamation LO1, LO2 Journalism in and contempt of court) Context LO2, LO4 Music Journalism: Principles and Practice 1 LO1, LO3 Writing for the Music Industry LO3 Music and Digital Media LO1, LO3

Introduction to A3. Identify, interpret and implement the variety Music Journalism LO3, LO4 of forms of publications both online and off Journalism in Context LO4 Music Journalism: Principles and Practice 1 LO1, LO2, LO3 Writing for the Music Industry LO3

Music and Digital Media LO2, LO3

Introduction to A4. Discuss important stylistic movements Music Journalism LO4 within Popular Music criticism and current Journalism in debates including the work of prominent Context LO1, LO2, LO3 theorists and practitioners Music Journalism: Principles and Practice 1 LO1

B – Intellectual skills B1. Critically analyse and evaluate information Music Business LO1, LO2, LO3 and practices relevant to music journalism and Introduction to publishing Music Journalism LO1, LO2 Journalism in Context LO1, LO2, LO3, LO4

Introduction to B2. Explain the relationship between music Music Journalism writing, production practices, and technologies LO1, LO2, LO3, LO4 and through decision-making skills relate these Journalism in Context LO1, LO3 to specific audiences and contexts in order to Music Journalism: target writing to specific needs and models Principles and Practice 1 LO1, LO2 Writing for the Music Industry Music and Digital Media LO1

B3. Independently plan and identify information Music Business using theoretical, practical, technological and LO1, LO2 Introduction to legal knowledge which realise and develop Music Journalism existing practices and traditions of music LO1, LO2 Journalism in journalism Context LO1, LO2, LO3, LO4 Music Journalism: Principles and Practice 1 LO1 Music and Digital Media LO1

B4. Examine and evaluate representations of Music Business LO1, LO3 ‘musical culture’ within historical contexts. Introduction to Music Journalism LO1, LO2, Journalism in Context LO1, LO2, LO3

C – Subject practical skills C1. Write clearly, effectively and accurately in a Music Business LO2 Introduction to range of styles and across various multimedia Music Journalism platforms and also produce academic writing LO3, LO4 Journalism in

Context LO4 Music Journalism: Principles and

Practice 1 LO1 Writing for the Music Industry LO1 Music and Digital Media LO1, LO2

C2. Autonomously collate music journalistic Introduction to Music Journalism ideas and principles from a variety of sources LO2 Journalism in Context LO1 Music Journalism: Principles and Practice 1 LO1 Writing for the Music Industry LO2, LO3 Music and Digital Media LO1, LO2, LO3

C3. Use the latest industry software and apply Music Journalism: creative visual and design techniques to Principles and projects Practice 1 LO2 Writing for the Music Industry LO2, LO3 Music and Digital Media LO2, LO3

C4. Reflect, assess and problem solve in Introduction to different roles within the industry Music Journalism LO1, LO2, LO3, LO4 Journalism in Context LO3, LO4 Music Journalism: Principles and Practice 1 LO1, LO2, LO3 Writing for the Music Industry LO2 Music and Digital Media LO2

D – Key / Transferable skills D1. Employ Information and Communication Music Business LO2 Introduction to Technology (word-processing, e-mail, online Music Journalism sources and other electronic information LO3 Journalism in services) appropriately Context LO4 Music Journalism: Principles and

Practice 1 LO2, LO3 Writing for the Music Industry LO3 Music and Digital Media LO2, LO3

D2. Write to deadline, style and to length using Music Business LO2 Introduction to sound spelling, punctuation and grammar Music Journalism LO3, LO4 Journalism in

Context LO3, LO4 Music Journalism: Principles and Practice 1 LO1 Writing for the Music Industry LO1, LO2

D3. Work and reflect effectively and flexibly Music Business LO1, LO2, LO3 independently or as part of a team Introduction to Music Journalism

LO2, LO3 Journalism in Context LO1, LO2, LO3, LO4 Music Journalism: Principles and Practice 1 LO1 LO2, LO3 Writing for the Music Industry LO2, LO3 Music and Digital Media LO1, LO2, LO3

D4. Develop effective communication skills and Music Business methods of research, analysis and evaluation LO2, LO3 Introduction to including academic referencing. Music Journalism LO2, LO3, LO4 Journalism in Context LO1, LO2, LO3

Music Journalism: Principles and Practice 1 LO2, LO3

Writing for the Music Industry LO1 Music and Digital

Media LO3

Music Business D5. Compile a contacts book and portfolio and LO1 website relevant to industry standards Introduction to Music Journalism LO2 Music Journalism: Principles and Practice 1 LO2, LO3 Writing for the Music Industry LO2, LO3 Music and Digital Media LO2, LO3

Level 5 Relevant modules A – Knowledge and A1. Explain the implications of writing for the Cultural Perspectives understanding LO2 multi-platform world, adapting for audience Artist Development demands and knowledge of English Law and and PR LO2, LO3 Music Journalism: ethics, which must be observed in journalism, in Principles and accordance with the Leveson recommendations Practice 2 LO1, LO2

A2. Demonstrate an organised and Engaging with Industry LO1, LO2, systematic approach to personal career LO3 Artist Development development and PR LO2, LO3 Music Journalism: Principles and

Practice 2 LO4

Digital Media Production LO3

A3. Digest pertinent academic literature and Research Methods LO3 relate it to music journalism Cultural Perspectives LO3, LO4

Artist Development and PR LO1 Music Journalism:

Principles and Practice 2 LO1, LO2

A4. Make connections between the Cultural Perspectives LO1, LO2, LO3 historical, social, cultural, political, Artist Development philosophical, economic context of music and PR LO1 Music Journalism: Principles and Practice 2 LO1, LO2

B – Intellectual skills B1. Analyse appropriate writing styles which Cultural Perspectives LO1, LO3 meet audience demands and evaluate problem Music Journalism: areas which relate to media law Principles and Practice 2 LO1, LO2

Engaging with B2. Analyse information to create and evaluate Industry LO1 relevant arguments and ideas, and reflect on Research Methods LO1, LO2, LO3 cultural perspectives in music Cultural Perspectives LO1, LO2, LO3 Artist Development and PR LO1 Music Journalism: Principles and Practice 2 LO2

B3. Acknowledge quotations and ideas from Research Methods other’s work and question their hypotheses and LO2 Cultural Perspectives assumptions LO1, LO2, LO3 Music Journalism:

Principles and Practice 2 LO1

B4. Conceptualise and apply pertinent theories Engaging with Industry LO1, LO2 and concepts in relation to their own work Research Methods LO1, LO3 Cultural Perspectives LO2, LO3 Artist Development

and PR LO1, LO2 Music Journalism: Principles and Practice 2 LO2 Digital Media Production LO1

B5. Apply the principles of marketing to identify Research Methods and prioritise appropriate strategies for a band, LO1, LO2, LO3 Artist Development event, product or service and PR LO1, LO2, LO3 Music Journalism: Principles and Practice 2 LO1

C – Subject practical skills C1. Use writing styles and structures relevant to Cultural Perspectives LO1, LO2, LO3, LO4 given brief for a specific audience Artist Development and PR LO3 Music Journalism: Principles and Practice 2 LO1, LO3 Digital Media

Production LO2, LO3

Research Methods C2. Apply knowledge of media laws to reporting LO2 and writing Artist Development and PR LO1, LO2, LO3 Music Journalism: Principles and Practice 2 LO2, LO4

C3. Implement a strategy for the planning and Artist Development development of a new feature in various formats and PR LO1, LO2, LO3, including print and online Music Journalism: Principles and Practice 2 LO1, LO3, LO4 Digital Media

Production LO1, LO2

C4. Interpret and analyse key concepts in artist, Engaging with Industry LO1 event and music marketing Research Methods LO2 Artist Development and PR LO1, LO2, LO3 D – Key / Transferable skills D1. Communicate knowledge, understanding Engaging with Industry LO3 and evaluate skills by producing lucid, Research Methods evidenced, written accounts and arguments LO1, LO2, LO3 Cultural Perspectives using proper academic citations LO1, LO2, LO3, LO4 Artist Development and PR LO3 Digital Media Production LO2, LO3

D2. Work independently on analysis and Engaging with Industry LO1, LO3 research Research Methods LO1, LO2, LO3 Cultural Perspectives LO1, LO2, LO3 Artist Development and PR LO1 Music Journalism: Principles and Practice 2 LO1, LO2 Digital Media Production LO1

D3. Articulate ideas, problems and conclusions Engaging with Industry LO1, LO3 Research Methods LO1, LO2, LO3 Cultural Perspectives LO1, LO3, LO4

Artist Development and PR LO2, LO3 Music Journalism:

Principles and Practice 2 LO1, LO2 Digital Media

Production LO1, LO2

D4. Communicate information and ideas Engaging with Industry LO2, LO3 effectively in peer feedback and work to a strict Cultural Perspectives deadline LO2, LO3 Artist Development and PR LO1, LO3 Digital Media Production LO3

Level 6 Relevant modules A – Knowledge and A1. Demonstrate a considered approach to Professional Project understanding LO1, LO2 ensuring validity and accuracy within the Professional context of a project demonstrating the ability to Development LO3 Analytical discuss existing theory and arguments to Perspectives LO3, rationalise project activity LO4 Creative Entrepreneurship LO3

A2. Apply reflective practices to a music related Professional Project LO4 project, linking theory with practice and Professional producing recommendations for future working Development LO1, LO2, LO3 practice

Analytical A3. Critically discuss globalisation with Perspectives LO2 reference to the media, communications and Creative Entrepreneurship popular music LO1 Global Communication LO1, LO2, LO4

A4. Explain how commissioning editors and Creative producer’s work and what they are looking for Entrepreneurship LO1, LO2, LO3 from the multi-media music journalist

B – Intellectual skills B1. Analyse appropriate markets to pitch Professional Project LO2 package ideas which meet audience demands Creative Entrepreneurship LO1, LO2

B2. Apply appropriate independent research Professional Project LO1, LO2 methods to a chosen area of study Professional Development LO1 Analytical

Perspectives LO1, LO2, LO3, LO4 Creative Entrepreneurship LO1, LO3 Global Communication LO1, LO2, LO4

B3. Reflect and analyse key cultural, social and Analytical Perspectives LO1, journalistic preoccupations LO2, LO3, LO4 Creative

Entrepreneurship LO1 Global

Communication LO2, LO4

B4. Reflect on the results of their developmental Professional Project LO4 activities, producing a well-evidenced account Professional of their successes and failures Development LO1, LO2

B5. Make well-founded and credible plans for Professional Project future work LO4 Professional Development LO2 Creative Entrepreneurship LO2 C – Subject practical skills C1. Produce a substantial piece of scholarly Professional and creative work Project LO2, LO4 Professional Development LO1, LO2 Analytical Perspectives LO1, LO2, LO3, LO4 Creative Entrepreneurship LO1, LO3

Global Communication LO1, LO2, LO3, LO4

C2. Consider appropriateness of form for a Professional Project LO1 specific medium Professional Development LO3 Creative Entrepreneurship LO1, LO2 Global Communication LO3

C3. Deliver industry-viable pitch and projects to Professional Project satisfy the needs of multi-platform LO2 Creative commissioning editors Entrepreneurship LO1, LO2 Global Communication LO4

C4. Use writing styles and structures relevant to Analytical a given brief for a specific audience Perspectives LO4 Creative Entrepreneurship LO3

Professional Project C5. Analyse the possible professional LO2, LO4 outlets for work Professional Development LO1, LO2 Creative Entrepreneurship LO1, LO2 Global Communication LO4

C6. Undertake independent personal Professional Project LO2, LO4 development and business development Professional Development LO1, activity LO3 Creative Entrepreneurship LO2

D – Key / Transferable skills D1. Demonstrate critical thinking using research Professional Project LO1, LO2, LO4 methodology Professional Development LO1, LO2, LO3 Analytical Perspectives LO1, LO4 Creative Entrepreneurship LO1, LO3 Global Communication LO1, LO4

D2. Produce a substantial thesis or creative Professional piece Project LO2 Professional Development LO1 Analytical Perspectives LO1, LO2, LO3, LO4 Creative Entrepreneurship LO1, LO3 Global Communication LO1, LO2, LO3, LO4

D3. Work to communicate information and Professional Project ideas verbally and develop a coherent pitch LO3 Creative structure Entrepreneurship LO2

Professional Project D4. Present the feature concept and all LO1 attributed elements in a clear, engaging and Professional Development LO1, succinct manner. LO2, LO3 Analytical Perspectives LO1,

LO2, LO3, LO4 Creative Entrepreneurship LO2 Global Communication LO1, LO2, LO3, LO4

The following tables show how each module supports students’ achievement of the course learning outcomes.

Level 4

A A A A B B B B C C C C D D D D D

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 5 Music            Business Introduction to Music                 Journalism Journalism in                Context Music Journalism:               Principles and  Practice 1 Writing for the             Music Industry Music and            Digital Media  

Level 5

A A A A B B B B B C C C C D D D D

1 2 3 4 1 2 3 4 5 1 2 3 4 1 2 3 4 Engaging with         Industry Research           Methods Cultural            Perspectives Artist Development                and PR Music Journalism:               Principles and Practice 2 Digital Media         Production

Level 6

A A A A B B B B B C C C C C C D D D D

1 2 3 4 1 2 3 4 5 1 2 3 4 5 6 1 2 3 4 Professional                Project Professional            Development Analytical          Perspectives Creative                  Entrepreneurship Global           Communications

19. Graduate attributes and employability skills Recognising the need for entrepreneurs to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:

• Creativity, craftsmanship, management and practical skills. • The mechanics of business: industry protocols, project management and marketing. • Voice and style in a wide range of contexts: hyper-local to global reach • Analysis of industry standard models and ethics. • Innovative application of social media, media platforms, audio and video • Monetisation, the digital landscape and its effects on the industry. • The social significance of music and the role of social factors in affecting our response to music. • Work placement via BIMM London industry partners. • Autonomous development of a fit for purpose journalism or media enterprise. • Group work, collaboration and teamwork. • Project management, trouble shooting, critical thinking and self-reflection.

20. Teaching and Learning strategies BIMM London prides itself on its high quality teaching which supports the development of technically accomplished, creative and versatile practitioners who are equipped for a sustainable career in an ever changing industry. All our tutors are active professional practitioner’s, well-placed to provide students with first-hand advice and guidance on the requirements of the media sector. We encourage a holistic approach to music education and through this approach enable our students to interpret a wide range of concepts, techniques and skills with authenticity and authority.

The BIMM London curriculum experience features regular class sizes of 16-20 students. In these classes the core and specialist subjects are covered. Classes are delivered in a multi- level style and all students are engaged with each other’s learning. One-to-one personal tutorials are available for the negotiation and refining of personal goals and targets, both on the course and in the context of a career plan. The ‘Community of Inquiry’ is central to BIMM

London. Studying with us enables the student to become part of a wide ranging student body of business specialists, producers, musicians, performers and songwriters at BIMM London; a microcosm of the industry. This gives the student an opportunity to integrate, network and build business models, partnerships and collaborations with students from other departments.

The majority of modules will be delivered in small groups in a combined lecture/workshop format (when appropriate). Practical workshops will occur within suitably equipped rooms for relevant sections of the module. The use of technology as a teaching tool will be included in a number of modules. When appropriate, each student will have access to their own Apple Mac workstation running industry standard hardware and software. For applicable modules, overhead projection will be used to deliver lecture content via tutor authored E-Learning tools. Concepts will be explained and demonstrated using appropriate media such as classroom whiteboard, digital media, references to hand outs, software and hardware examples, and web URL’s. Tutorial opportunities exist whereby students can explore portfolio concepts with their tutor(s).

Some lessons are delivered in a large scale lecture format; delivered in groups of 30-60 multi- discipline students. This is where the BIMM London creative community is celebrated. Philosophical ideas and concepts such as personal and business management are discussed, and collaborative projects such as gigs, PR, features, interviews, management deals and record labels are planned. Students begin to learn how to deal with competition, problems, setbacks, assessment, to celebrate each other’s success and to engage in peer debate.

BIMM London prides itself on the quality of the learning and teaching and many tutors are informed practitioners with vast industry and educational experience. Many tutors have engaged in post graduate study in their discipline and many have gone on to complete post graduate learning & teaching qualifications.

Teaching and learning are staged to take account of student diversity and mirror the progression in the programme learning outcomes. Initial emphasis on explicit guidance and circumscribed learning tasks changes to a greater emphasis on teaching which encourages autonomous and reflective learning which can progress to more open-ended tasks, thus developing skills and knowledge tested by a variety of assessment tools. Students will demonstrate different learning styles, learning at different rates with larger lecture groups giving way to smaller discipline specific groups where peer and individual learning can be promoted. Students studying on the programme will be exposed to a relevant range of media disciplines and their application in this field. Teaching and learning methods do depend however on the academic level. These include formal lecturing to large groups, seminars, workshops, group work, project work, performance ensembles, individual tutorials and directed and independent study.

BIMM London has developed its own bespoke virtual learning environment via the Moodle platform. All BIMM London HE students are provided with blended learning provision via this platform. This supports BIMM London’s learning and teaching strategy via a myriad of curriculum specific support for the BA (Hons) Music Journalism. This includes the use of the VLE as a repository for both student facing documentation such as Programme Handbooks, Mitigation and Extension Forms, HE Regulatory Appendices, Term Dates, HE Academic Writing Guides, Student Rep & Board of Studies Minutes, Student Survey Results & College Handbooks. At the module level material includes supporting lecture based content such as lesson plans, PowerPoint presentation documents, links to external web sites and other assorted digital media content.

The BIMM London Moodle platform has Turnitin Plagiarism detection software integration and the GradeMark feedback platform which will be utilised for academic writing based assessments on the BA (Hons) Music Journalism. The Moodle platform also features a myriad of added value components such as student discussion forums (i.e. find a discipline forum, inspired by music forum, etc) and Head of Department blogs. The VLE a copy of the recent BIMM London Self Evaluation for the QAA Review for Educational Oversight and the student authored QAA BIMM London Student Submission newsletter – The BIMM London Voice. Students can also access information regarding masterclasses and events and book places to attend. BIMM London is committed to the development of its Moodle platform and the robust integration of blending learning across all its programmes with an aim to enhance the quality of the student experience.

21. Assessment strategies In line with our feed forward approach and the portfolio ethos to assessment design for this course, all the modules will present students with formative and summative assessment tasks. This approach is in line with BIMM London’s assessment policy and includes a range of assessment modes, many of which are authentic tasks that would be familiar to working music journalists. Assessment has been structured so that a unified approach is adopted with each module assessment diet providing a formative assessment point that ensures students receive feedback on their work - and be able to see how their peers have approached the task – and a summative assessment that measures progress and achievement at the end of the module. Many of the modules also include a reflective written submission, which allows the learner to stand back and reflect on their work, team performance and individual progress and learning within the module.

Students that use research methods to collect data from participants are required to gain approval via application to BIMM Research and Ethics Committee. The Professional Project Module Leader and Programme Leader will provide guidance through research lectures and tutorial support. UWL’s Institute for Practice, Interdisciplinary Research and Enterprise (INSPIRE) and Institute for Teaching, Innovation and Learning (INSTIL) can also provide further academic support.

Peer Assessment

The BA (Hons) Music Journalism programme makes use of a peer assessment approach to provide a rich source of feedback on work in progress from tutors and fellow students. These peer assessments are formative in nature (in that they are designed to provide developmental feedback to candidates) but carry a 10% weighted banded grade (A,B,C and F) to ensure appropriate levels of engagement. Peer assessments are marked by the group of students in class with students agreeing a grade for each candidate. Peers will provide written and verbal feedback using the generic BA (Hons) peer marking criteria. The tutor acts as moderator (and has final say if peers disagree over a mark) and arbiter to ensure standards are applied consistently and fairly and records the final marks on the mark-sheet.

22. Opportunities for work-based learning and employer engagement The college has excellent links with the music industry including leading record labels and artist management companies, performing artists, publishing companies, recording studios, industry bodies, magazines and venues. Opportunities exist for students to work with our Industry Partners, with many students engaging in projects during and after graduation. Our Visiting Tutor model supports the enriching and enhancement of pedagogic learning and teaching activities. Industry professions represent an important facet in the learning & teaching strategy at BIMM London. These individuals provide real world experience within their chosen idiom and impact knowledge, experience and inspiration within the student body.

23. Personal Development Planning (PDP) Personal Development Planning is central to the ethos of the BA (Hons) Music Journalism. Aspects of self-reflection are embedded within the curriculum. Students will develop their critical, analytical and reflective skills by considering their productions in the context of the musical, cultural and sociological development of popular music and the music industry.

Self-reflection, critique and analysis exist within the assessment methodologies utilised for various modules (i.e. Professional Development, Professional Project and Engaging with Industry). This allows the student body to engage in metacognitive reflection of their own working methodologies and provides a valuable opportunity for PDP via reflection

BIMM London offers its students a wide range of extra-curricular opportunities across the academic year. Students are required to utilise skills developed within their respective programmes and apply to a professional standard aligned to current industry expectations. Students are also required to develop interpersonal skills and communication techniques as they collaborate with their peers from a range of disciplines and the wider arts and media communities to include:

• Management of and contribution to a student produced music magazine • Student band interviews and reviews at BIMM gigs including: London Song Circles, BIMM Showcase, 7 Sessions (Industry showcase), BIMM Heavy, Sofa Sessions • New music reviews and opinion pieces on London Song Circles Tumblr blog • Podcasts, radio shows, video blogs for BIMM Radio • Masterclass guest interviews

• Reviews, interviews and work experience at external events and festivals including: The Great Escape, 2000 Trees, Under The Bridge – Fulham, BIMM Graduation at 02 Shepherd’s Bush Empire

24. QAA Subject Benchmarks

During the design phase, the BA (Hons) Music Journalism has been constructively aligned with the QAA Subject Benchmark statements for Communication, media, film and cultural studies (2008).This provides an academic infrastructure that supports the BIMM London ethos of an holistic approach to music education and through this approach enable our students to interpret a wide range of concepts and skills with authenticity and authority.

The curriculum for the BA (Hons) Music Journalism is forward thinking, robust and contemporary and is modelled on the landscape of the current journalism industry. What the student studies is relevant to the working practices of the industry: students learn what they need to learn. In line with good pedagogic practice, BIMM London strives to cater for as many diverse learning styles as possible during delivery of its programmes. A mixture of different learning & teaching approaches and activities are embedded in the curriculum of all BIMM London Programmes under guidance defined by the QAA Subject Benchmark statements and the Quality Code. Special consideration has been placed upon the development of concrete experience / reflective observation / abstract conceptualisation / active experimentation and discussion within the programme, which all serve to enrich the student experience.

The BA (Hons) Music Journalism programme outcomes were written using the subject benchmarks statements and the outcomes are closely aligned with all key bench-marking statements, including those for:

Aural/analytical skills Research skills Media production skills Creative and imaginative skills Knowledge based skills Technological skills Intellectual skills Skills of communication and interaction Skills of personal management Group and independent specific skills

25. QAA Qualification Descriptors

The UK Quality Code for Higher Education

Descriptor for a higher education qualification at level 6: Bachelor's degree with honours

The descriptor provided for this level of the FHEQ is for any bachelor's degree with honours which should meet the descriptor in full. This qualification descriptor can also be used as a reference point for other level 6 qualifications, including bachelor's degrees, graduate diplomas and so on.

Bachelor's degrees with honours are awarded to students who have demonstrated:

• a systematic understanding of key aspects of their field of study, including acquisition of coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline; • an ability to deploy accurately established techniques of analysis and enquiry within a discipline; • conceptual understanding that enables the student: . to devise and sustain arguments, and/or to solve problems, using ideas and techniques, some of which are at the forefront of a discipline; . to describe and comment upon particular aspects of current research, or equivalent advanced scholarship, in the discipline; . an appreciation of the uncertainty, ambiguity and limits of knowledge; . the ability to manage their own learning, and to make use of scholarly reviews and primary sources (for example, refereed research articles and/or original materials appropriate to the discipline);

Typically, holders of the qualification will be able to:

• apply the methods and techniques that they have learned to review, consolidate, extend and apply their knowledge and understanding, and to initiate and carry out projects; • critically evaluate arguments, assumptions, abstract concepts and data (that may be incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem; • communicate information, ideas, problems and solutions to both specialist and non-specialist audiences;

And holders will have:

• the qualities and transferable skills necessary for employment requiring: • the exercise of initiative and personal responsibility; • decision-making in complex and unpredictable contexts; • the learning ability needed to undertake appropriate further training of a professional or equivalent nature.

26. Teaching and Assessment Structure The following table summarises the learning outcomes and teaching and assessment structures for each module. LEVEL 4

Weekly contact Summative Module Credits hours Assessments Learning Outcomes 1. Locate and organise information about music industry practitioners and the structure of the music business Music Wk 9 (10%) 20 1.5 2. Apply appropriate academic conventions in the recording and referencing of Business Wk 27 (90%) such data 3. Identify and appraise current developments in the music industry 1. Demonstrate an awareness of the music industries and role of journalism and skills within them Introduction Wk 15 (10%) 2. Appraise the roles and responsibilities of key personnel in the music industry to Music 20 1.5 Wk 25 (90%) 3. Utilise skills and key software to create, edit and report to an appropriate target Journalism audience 4. Be able to use different writing styles for different audiences in particular in specialist areas

1. Define important stylistic movements within popular music journalism 2. Explore the relationship between Popular Music, Journalism and social change Journalism in Wk 19 (10%) 3. Analyse the contribution of key music writers and broadcasters from 1900 to the 20 1.5 Context Wk 27 (90%) present day 4. Use academic resources to evaluate the impact of these writers on the wider culture

1. Demonstrate various styles of writing and reporting for specific audiences and Music platforms Journalism: 20 1.5 2. Use technology and techniques to report on camera, online and for radio. Principles and Wk 25 (100%) 3. Be able to research stories, features or projects, using a range of credible Practice 1 sources 1. Write concise, well researched and engaging work using accurate grammar and Writing for the punctuation Music 20 1.5 Wk 25 (100%) 2. Edit and sub-edit work to progress written copy to the finished piece Industry 3. Illustrate visual, audio and online elements to enhance media

1. Describe the nature of online reporting and its manipulation through mediation for public relations purposes 2. Utilise key software to create, edit and manipulate layouts suitable for online Music & 20 1.5 Wk 15 (10%) public relations use Digital Media Wk 25 (90%) 3. Locate, research and utilise appropriate sources of information clearly and effectively to a target audience

LEVEL 5

Weekly contact Summative Module Credits hours Assessments Learning Outcomes 1. Demonstrate an organised and systematic approach to personal career development Engaging With 20 1.5 2. Undertake and document Work Based Learning (WBL) according to course Industry Wk 29 (100%) requirements 3. Evaluate the work experience undertaken

1. Select and utilise a variety of appropriate research methods Wk 22 (20%) Research 2. Gather and interpret valid and reliable data 20 1.5 Wk 27 (80%) Methods 3. Demonstrate an informed understanding of their research problem, project

design, methodology and project management

1. Understand the origin of important genres in Popular Music Cultural Wk 19 (25%) 2. Explore the relationship between Popular Music and social change 20 1.5 Perspectives Wk 27 (75%) 3. Understand the contribution of a key artist from 1900 to 1970 4. Use academic resources to evaluate the impact of this artist in detail

1. Interpret and analyse key concepts in event and music marketing Artist 2. Apply the principles of marketing to identify appropriate strategies for a band, Development 20 1.5 Wk 15 (10%) artist, product or event and PR Wk 25 (90%) 3. Design and appraise a marketing plan for a band, event, product or service

1. Design, plan and execute a print and/or online magazine Music 2. Summarise ethical and legal issues within music journalism Journalism: 20 1.5 Wk 15 (10%) 3. Utilise key software to create, edit and manipulate layouts Principles and Wk 25 (90%) 4. Engage in a professional manner with PR’s, record labels and managers to Practice 2 secure interview

1. Identify the structure and process of digital media in the creative industries 2. Undertake the technical and creative production of a digital media project Digital Media 20 1.5 Wk 15 (10%) 3. Demonstrate innovative and creative communication skills necessary for the role Production Wk 25 (90%) as a professional music journalist

LEVEL 6

Weekly contact Summative Module Credits hours Assessments Learning Outcomes 1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project 2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory* and Professional 40 1.5 Wk 10 (20%) arguments to rationalise project activity Project Wk 28 (80%) 3. Demonstrate a practical understanding of music related project management skills 4. Apply reflective practices to a music related project, linking theory with practice and producing recommendations for future working practice. 1. Undertake independent personal development and business development activity Professional 20 1.5 Wk 27 (100%) 2. Analyse the results of this activity Development 3. Critically evaluate a range of tools/methods for personal and business development, relating these tools to their own developmental activity

1. Analyse and interpret the development of a key genre in Popular Music from 1970 to the present day 2. Critically evaluate the relationship between Popular Music and wider cultural Analytical Wk 26 (100%) issues 20 1.5 Perspectives 3. Construct an informed argument about the contribution of a key artist from this period 4. Critically appraise the artist’s cultural significance, using scholarly literature at the forefront of the discipline

1. Define markets for different music publications and platforms, and identify styles needed to relate ideas and features Creative Wk 15 (30%) 2. Pitch correctly and successfully and make and keep contacts for future 20 1.5 Entrepreneurship Wk 25 (70%) commissions 3. Research and write in a range of styles and work independently to produce written material using primary and secondary sources

1. Define globalisation with reference to the media, communications and popular music

Global 2. Explain cultural reflexivity and the global voice 20 1.5 Wk 27 (100%) Communication 3. Demonstrate effective application of a transnational and regional tonality

4. Recognise and evaluate current developments in global communication practice

27. BA (Hons) Music Journalism Module Leadership

Level 4 BIMM____ 2Music Business Harry Leckstein BIMM____ Introduction to Music Journalism Jacqui Swift BIMM____ Journalism in Context David Symth BIMM____ Music Journalism: Principles and Practice 1 Jacqui Swift BIMM____ Writing for the Music Industry John James Dunning BIMM____ Music and Digital Media Steve Cole Level 5 BIMM____ Engaging with Industry Erica Thomas BIMM____ Research Methods Sini Timonen BIMM____ Cultural Perspectives Richard Lightman BIMM____ Artist Development and PR Erica Thomas BIMM____ Music Journalism: Principles and Practice 2 John James Dunning BIMM____ Digital Media Production Steve Cole Level 6 BIMM____ Professional Project Graham Jackson BIMM____ Professional Development Harry Leckstein BIMM____ Analytical Perspectives Sini Timonen BIMM____ Creative Entrepreneurship Jacqui Swift BIMM____ Global Communication David Symth

2 Please note that BIMM is currently revisiting its module coding to a new system – full module codes will be in place for module validation.

BA (Hons) Music Journalism

Level 4

BIMM__ Music Business

Key Information Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Harry Leckstein

Tutor(s): Harry Leckstein

Module Summary Successful careers are founded on sound research and knowledge of the practitioner’s field.

This module will show you how you can research the music industry and make informed choices about your career options as a performer, songwriter, event manager, journalist or music business entrepreneur.

It covers two areas:

1) The generation and management of information: reading, research and report-writing skills that will allow you to find out what you need to know and provide the basic academic skills needed for Higher Education study.

2) The structure of the music business: such as recording and publishing contracts, artist management, music synchronization, music law, copyright, music teaching, merchandising and touring.

Skills embedded in the first part of the module will allow you to explore the music industry and define realistic career options as a performer, songwriter or music business entrepreneur.

Aims  To introduce study skills essential to progress in Higher Education, including the appropriate presentation of written work  To introduce students to the methods of enquiry that underpin business and Higher Education research practices  For students to employ these skills in the identification and analysis of music business practice and music industry structures  For students to employ these skills as they define and evaluate key contemporary developments in the industry

Indicative Study Topics  The Structure of the Music Business:  The recording industry  The live music industry  Copyright and intellectual property  Contracts and negotiation  Marketing and promotion  Online music  Social media  Music and event merchandise  Academic Skills:  Introduction to research methods  Using the libraries and the internet as research tools  Effective reading practices  Note taking and record keeping  Essay writing and report writing  Referencing your work using the Harvard Reference System (HRS)

Teaching & Learning Methods This module will be delivered using a range of methods including formal lectures with audio- visual support, small group work, coursework, in class exercises, tutor demonstrations, and e-learning via the BIMM VLE and independent research.

Formative Assessment Formative assessment will include a lightly weighted citation assignment that asks candidates to research and reference an element of the music industry, Q&A and discussion time in class, informal feedback on weekly tasks, and individual tutorials, which will be available to all students. The tutors will set weekly exercises, and information will be uploaded to the BIMM VLE.

Learning Outcomes On completion of this module a successful student will be able to:

1. Locate and organise information about music industry practitioners and the structure of the music business 2. Apply appropriate academic conventions in the recording and referencing of such data 3. Identify and appraise current developments in the music industry

Assessment No Assessment Length Learning Assessment Formative/ Assessment Methods Outcomes Weighting Summative Week Addressed 1 Citation task 500 words 1, 2, 3 10% Formative W9 Current 3,000 1, 2, 3 90% Summative W27 2 Developments words Essay

Assignment Brief 1. Citation Task (500 words) – Individual work

Throughout your time on BIMM’s HE courses you will be required to submit essays and coursework that require cited references and a bibliography.

This assignment will help you acclimatise to such academic conventions and introduce you to the remote submission of work on the BIMM VLE.

Task: Provide a short evaluation (500 words) on a key current affair relevant to today’s music business. Your submission must cite at least two references from external sources.

Citations should be shown clearly in the body of text and references should be given using the Harvard Referencing System (HRS) format.

Include an appropriate bibliography at the end of your evaluation Note: The bibliography is not included in the word count.

2. Current Developments Essay (3,000 words) – Individual work

Current Developments in the Music Industry

Identify and evaluate an important current development in the music industry.

This could be a recent news story such as an unsigned artist finding success on YouTube, a change in the structure of the industry such as the rise of independent specialised festivals, or a legal issue such as the dispute over the length of recording copyright in Europe.

Use your research skills to demonstrate a detailed understanding of your chosen topic. Identify and evaluate the consequences of this development for musicians, songwriters, event managers and other industry entrepreneurs as these are relevant.

Discuss how such developments might present opportunities or threats to musicians, songwriters, event managers and other industry entrepreneurs.

Use real world data to support your ideas. Demonstrate your engagement with appropriate sources (such as peer reviewed research and/or specialised industry media) by including specific examples and cited quotations together with a full bibliography that adheres to the relevant academic conventions.

Assessment Criteria Outcome Students will be assessed Assessment on their ability to: method 1. Locate and organise Demonstrate knowledge and Citation Task information about music understanding of key areas of industry industry practitioners practice such as recording, publishing, Current and the structure of the management, live music, online music, Developments music business marketing and PR. Essay

Identify and analyse the structure of the industry that organises and supports practice in these areas such as recording companies, publishing companies, copyright collection societies, agents and promoters, online retailers and music media companies

2. Apply appropriate Gather meaningful information using Citation Task academic conventions in the digital library, the internet, and the recording and other sources Current referencing of such data Developments Produce coherent and well-presented Essay work, demonstrating appropriate academic conventions in citation and referencing.

3. Identify and appraise Demonstrate knowledge of changes in Citation Task current developments in industry practice and audience the music industry demands. Current Developments Evaluate the impact of current Essay developments for music industry practitioners

Reading List

Core Texts:  Strasser, R. 2009. Music Business: The Key Concepts Routledge [eBook]  Walmsley, B. 2010. Improve Your Study Skills. Hodder & Stoughton. [eBook].  Harrison, A. 2011The Music Business – The Essential Guide to the law and the deals. Virgin.  Clegg, B. 2008. Studying Creatively: A creativity toolkit to get your studies out of a rut. Routledge [eBook]  Gordon, T. 2009. A Student’s Writing Guide: How to Plan and Write Successful Essays Cambridge e-Text [eBook]

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Introduction to Music Journalism

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Jacqui Swift

Tutor: Jacqui Swift

Module Summary This module will introduce you to how music journalists work in the industry and develop the skills, information and experience necessary to gain employment in various roles of the music industry.

You will look at how the music industry is structured and how journalists work with artists, PRs, record labels, management and promoters. You will also look at the various roles within music journalism specifically in the areas of music journalism specific to the industry e.g. trade magazines.

Aims  To understand the various roles within the music industry and music journalism and how they interconnect and work together  Understand a music marketing campaign and how current events are shaping the future of both the music industry and music journalism

Indicative Study Topics An introduction to understanding the music industries and how journalism skills work across trade and marketing areas as well as consumer areas.

 Understanding the structure and workings of the music industry  Music marketing campaigns  Understanding different audiences from specialist to more general  Music trade magazines  Technical side music journalism  Music management  Music industry, journalism and copyright  Planning, research, pitching and presentation skills

Teaching & Learning Methods This module will be delivered utilising a range of methods including lectures and seminars: digital workstations, audio-visual resources, group and individual work, tutor/ student led discussion, workshops, demonstrations, e-learning through Moodle and independent study and research. Key transferable academic skills are instilled through the teaching and assessment of the module.

Formative Assessment You will be asked to present your report/feature for feedback in weeks 11-15 and receive tutor and peer feedback which is available through module seminars.

Learning Outcomes On completion of this module a successful student will be able to: 1. Demonstrate an awareness of the music industries and role of journalism and skills within them 2. Appraise the roles and responsibilities of key personnel in the music industry 3. Utilise skills and key software to create, edit and report to an appropriate target audience 4. Be able to use different writing styles for different audiences in particular in specialist areas

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Peer 5 mins 1 10% Formative 11 – 15 Assessment Presentation – Industry Report Proposal 2 Industry 1500 words 1,2,3 90% Summative 25 Report

Assignment Brief 1. Project Proposal: Five minute pitch of your Industry report plan showing plan and research

2. This module will require the student to research and write an industry report/feature (1500 words) for a magazine like Music Week or Billboard on a new artist/ returning artist, looking at the various team members and roles involved in promoting the campaign. The report will follow the style of the chosen magazine and use quotes from interviews with key players and define the roles of the label, publisher, agent, legal, online, print TV, radio and marketing team in the artist’s promotion with clear promotion times.

Assessment Criteria Outcome Students will be assessed Assessment on their ability to: method 1. Demonstrate an Develop an awareness of the music Industry report awareness of the music industry and popular music including proposal industries and role of the interrelationships between key journalism and skills players Industry report within them

2. Appraise the roles Evaluate an artist and key players that Industry report and responsibilities of define a music industry press campaign key personnel in the music industry 3. Utilise skills and key Communicate effectively in a range of Industry report software to create, edit media and report to an appropriate target audience

4. Be able to use Write in the required style as dictated Industry report different writing styles by the style of the chosen magazine for different audiences and artist. in particular in

specialist areas

Reading List

Core texts:  Strasser, R. 2009. Music Business: The Key Concepts Routledge [eBook]  Harrison, A. 2011The Music Business – The Essential Guide to the law and the deals. Virgin.  Rutter, P. 2011. The Music Industry Handbook Routledge  Ellen, M. 2014. Rock Stars Stole My Life! A Big Bad Love Affair With Music  Draper, R. 1991. Rolling Stone Magazine: The Uncensored History

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Journalism in Context

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 158.5 hours

Module Leader & Tutors Module Leader: David Symth Tutor: David Symth

Module Summary This module explores the development of popular music journalism as a distinct sub-genre of journalism from 1900 to the present day. The social and political conditions influencing the development of popular music culture are explored through the work of significant writers and the cultural and critical response to their legacy.

Students will examine the rise of popular music criticism from the turn of the twentieth century focusing on the dynamic relationship between popular music, music criticism, celebrity, the media and social change.

Aims  To identify and examine significant moments in the evolution of popular music journalism.  To explore the impact and influence of significant writers, music critics and influential articles and interviews on the development of popular music and culture  To contextualise significant cultural events and writing within the wider socio-political and socio-economic landscape  To analyse the development of the music media  To explore the creation of meaning and significance through the study of music sub- cultures, habits and the evolution of distinct journalistic styles

Indicative Study Topics  Classical music and the dawn of music criticism  The origins of popular music criticism  Recorded music and the rise of the critical voice  Jazz, folk and roots music criticism in the 1940s  Trade papers and the rise of the extended music review  Al Aronowitz, Robert Christgau and the birth of modern music criticism  Music journalism in the 1960s - beyond the trade papers  The Underground rock press in the 1960s - a radical new voice  The Teen press – teenagers get a voice  Music journalism in the 1970s - Rolling Stone, Cream, NME, Melody Maker, Disc & Record Mirror  Lester Bangs, Nick Kent and the critic as cult celebrity  Fanzines - Punk and the DIY writing revolution  Music journalism in the 1980s - the rise of mass media pop journalism  Feminist rock writing  Broadsheet music journalism in the 1990s  TV, radio and broadcast music journalism 1960 onwards  Digital journalism - the fan as critic and curator  Influence, social media and the future of music journalism

Teaching & Learning Methods Teaching and learning for this module uses a range of methods including; formal lectures with audio and video support, internet resources, discussions and debates, in-class presentations, group discussions, coursework, guest lecturers, in-class exercises, e- learning facilitated by the BIMM VLE (Moodle) and independent study and research.

In the time allotted for personal development students should undertake music industry projects, set tasks for completion outside the classroom, and undertake further designed to develop their knowledge of the industry and current opinion. Students should also use this time explore the practical application of their learning through within their own practice.

Formative Assessment Formative assessment will include in-class Q&A sessions, group discussions, informal feedback on weekly set tasks, peer-led feedback and individual tutorials. In addition weekly set exercises to develop written work, academic rigour and skills will be uploaded to the BIMM VLE.

Learning Outcomes On completion of this module a successful student will be able to:

1. Define important stylistic movements within popular music journalism 2. Explore the relationship between Popular Music, Journalism and social change 3. Analyse the contribution of key music writers and broadcasters from 1900 to the present day 4. Use academic resources to evaluate the impact of these writers on the wider culture

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed

1 AV 10 minutes 1,2,3,4 10% Formative W19 Presentation

2 Long Essay 3000 words 1,2,3,4 90% Summative W27

Assignment Brief 1. Presentation – Individual work

Students are required to give a 10-minute audiovisual presentation on an influential article from the period 1900 to the present day.

Analyse the style, themes and approach to music criticism highlighting the way in which the writing influenced or reflected the culture of the period. Examine music sub-cultures and the key cultural, social and journalistic preoccupations of the period. Refer to the recurrent themes of this module (race, class, technology, world events, gender, religion, rebellion, media, youth, fashion etc.) wherever appropriate.

Your title should be the name of the writer, the title of the original published article and the publication in which it first appeared. For example: Lester Bangs - ‘Van Morrison’s - Astral Weeks. Creem Magazine October 1970’.

Demonstrate academic rigour by engaging with a wide range of higher-level resources, including books, peer reviewed journals and other sources from the module reading list.

A written transcript of the presentation should be submitted including a bibliography referenced in the Harvard form.

Presentation software may be used but candidates must not rely on network connections or cloud-based access.

*Please refer to the "Submission of Work for Assessment" section at the back of this manual and the HE Student Quality Manual for further guidance on how to present and submit your work

2. Long Essay (3000 words) – Individual work

This assignment asks you to evaluate the social, cultural and political significance of an important and influential music writer.

Select a writer from 1900 to the present day and examine their relationship to popular music culture. Make specific reference to an important or influential body of work and the way in which it reflected or countered the prevailing culture of the period. Please note: the writer must be different to the one chosen for the short essay.

Evaluate the writer’s impact on journalistic style, popular music and popular culture more widely by exploring their relationship to the key themes of this module (class, race, gender, sexuality, world events, technology, religion, etc.).

Your essay title can be from the options given on the BIMM VLE (Moodle), or it can be a title of your own choosing. Original essay titles (those not from the options on the BIMM VLE) must be cleared with your module tutor.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Define important Demonstrate a detailed knowledge and Presentation stylistic movements informed understanding of the career of and Long within popular music a genre-defining writer from 1900 to the Essay journalism present day

Comment critically on the contribution of the writer to their associated journalistic style and their wider contribution to popular culture

2. Explore the Critically evaluate the contribution of a Presentation relationship between key writer in relation to societal and and Long popular music, cultural changes Essay Journalism and social change Comment on the interaction between popular music and important cultural and social developments of the period

Present arguments coherently, clearly and well supported

3. Analyse the Present a detailed evaluation of the Presentation contribution of key contribution of an important writer from and Long music writers and the period 1900 to the present day Essay broadcasters from 1900 to the present Make informed reference to an day influential body of work from a key writer

4. Use academic Demonstrate academic rigour by Presentation resources to evaluate engaging with a wide range of literature and Long the impact of these (including peer review journals and Essay writers on the wider other academic resources on the culture reading list)

Present fully referenced work accompanied by a detailed bibliography.

Reading List

Core texts:  Bennett, A. (2009) Popular Music and Youth Culture. London: Palgrave Macmillan  Christgau, R. The Best Music Writing (series) New York: Da Capo Press  Jones, S. (ed.) (2002) Pop Music and the Press (Sound Matters) Los Angeles: Temple Press  Kureishi, H., Savage, J. (Eds) (1995) The Faber Book of Pop. London: Faber & Faber  Long, P. (2012) The History of the NME: High Times and Low Lives at the World's Most Famous Music Magazine. London: Portico Publishing  Powers, D. (2013) Writing the Record: “The Village Voice” and the Birth of Rock Criticism (American Popular Music) Massachusetts: Massachusetts University Press

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Music Journalism: Principles and Practice 1

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 2 x 30 mins Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Jacqui Swift Tutor: Jacqui Swift

Module Summary This module allows you to gain a basic understanding of journalism and journalistic practices by introducing and developing the various skills a journalist needs to develop in addition to writing skills and styles in the Writing for the Music Industry module. You will learn how to prepare, research, interview and report for a variety of platforms. You will learn the different skills required for writing and producing for radio, online and TV enabling multi-disciplinary training.

Aims  To explore and understand different approaches to writing in music journalism  Introduce core techniques in information gathering and news, feature, review and script writing across print, online, TV and radio platforms  Understand the need to use credible quotes and bring together relevant  To develop your knowledge and technical skills to practise effectively as a music journalist  To reflect on journalistic practices in relation to theoretical issues

Indicative Study Topics  Basic skills in writing news, features and reviews  Write clearly to deadline and space set  Pitching, setting up and conducting interviews and securing reviews both live and CD  Interview techniques, recording interviews and how to use quotes  Developing an opinion and voice  Introduction to audio and video in multi-platform packages

Teaching & Learning Methods This module will be delivered utilising a combination of lectures, seminars and workshops. Workshops will allow range of methods to be delivered including information and feedback on writing styles to allow problem solving and present ideas and progress to their peers with individual feedback provided in tutorials.

Formative Assessment You will be asked to present your projects for feedback in weeks 11-15 and receive tutor and peer feedback.

Learning Outcomes On completion of this module a successful student will be able to:

1. Demonstrate various styles of writing and reporting for specific audiences and platforms 2. Use technology and techniques to report on camera, online and for radio. 3. Be able to research stories, features or projects, using a range of credible sources

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Portfolio of 1,2,3 100% Formative / 25 news, Summative3 features and interviews (16 pages)

Assignment Brief The assessment task will consists of a portfolio of news, features and interviews in written, TV, Radio and online packages.

3 Formative feedback throughout year during portfolio creation. Final submission of portfolio in week 25

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Demonstrate Show a working knowledge of the various styles of principle elements which are inherent in Music writing and music journalism Journalism reporting for Portfolio specific Employ a range of writing and editing audiences and techniques platforms

2. Use technology Plan and conduct effective interviews, and techniques to using effective research from a range Music report on camera, of sources Journalism online and for Portfolio radio.

3. Be able to Using cuttings, libraries, online media research stories, outlets for up-to-date research Music features or Journalism projects, using a Portfolio range of credible sources

Reading List

Core texts:  Smith, J. 2007. Essential Reporting: The NCTJ Guide for Trainee Journalists  Hicks, W. 2008. Writing for Journalists  Brayfield, C. 2008.Arts reviews : And How to Write Them  Friedlander, Edward Jay.2008. Feature Writing for Newspapers and Magazines : The Pursuit of Excellence  Hudson, G. 2012. The Broadcast Journalism Handbook.

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Writing for the Music Industry

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: John James Dunning Tutor: John James Dunning

Module Summary This module will introduce and develop your writing skills for the various roles within music journalism. It will introduce and develop specialist skills and approaches in writing for print, online, TV and Radio. You will be introduced to news, feature, review and script writing and the necessary extra skills like subbing, editing and supporting audio, video, visuals and photographs. You will also focus on grammar and be introduced to the core rules of good journalistic style. Through writing in the public domain you will also develop a critical understanding of what makes a successful piece of writing and how to modify a story with audio/video testimonials, photographs, sound bites and web specific content to build the interactive feature package. This module will further identify your employability skills and develop specialist approaches.

Aims  To understand the different articles, structure, writing styles and language used in a variety of music output and publications  Ability to write effective non interview features including profiles, opinion pieces, columns, how-to, narrative, biographies and comments pieces  Examine the opportunities and limitations inherent in various multimedia platforms and the need for journalistic research  To enable the leadership in the production of music journalism projects and be able to present ideas in a clear and effective manner  To develop your knowledge and technical skills to practise effectively as a music journalist  To develop your awareness of the cultural, historical and technological context within which the practice of music journalism operates and how these determinants may affect your future work in the field  Promoting the story or feature using pull quotes and headlines  Developing subbing, editing and proofreading skills  Recognising the importance of visual, audio and online support material in pushing a piece of work

Indicative Study Topics  Newsgathering and writing and reporting suitable stories in a suitable style  Study the structure of various articles, styles and language.  To write using other sources and materials when no interview takes place  Core grammar, punctuation and spelling  How to plan and implement strategies to build and maintain readership  Image use on the layout – selection, cropping, working with captions and headlines  Subbing and editing and how to use a pull-quote  Proofreading  Typography

Formative Assessment You will be asked to present your projects for feedback as they develop to receive tutor and peer feedback.

Learning Outcomes On completion of this module a successful student will be able to:

1. Write concise, well researched and engaging work using accurate grammar and punctuation 2. Edit and sub-edit work to progress written copy to the finished piece 3. Illustrate visual, audio and online elements to enhance media

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Develop a 1500 1,2,3 100% Formative 25 blog or words /Summative4 fanzine including audio, visual and online support

Assignment Brief This module will require the student to develop a blog or fanzine using the different writing skills learned in the module including news, reviews and interviews. Included will be audio/video material to support the blog or fanzine that utilises online publishing software within the music industry. Each student will also include an 800 word critical reflection, which discusses working processes and success and problems encountered with their chosen blog or fanzine.

4 Formative feedback throughout year during portfolio creation. Final submission of portfolio in week 25

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method

1. Write concise, well Write clearly using accurate spelling Blog or Fanzine researched and and grammar project

engaging work

using accurate grammar and punctuation

2. Edit and sub-edit Recognise house style, and demonstrate Blog or Fanzine work to progress sub-editing and editing techniques to a project professional standard written copy to the

finished piece

3. Illustrate visual, Incorporate audio, visual and online Blog or Fanzine audio and online elements into the finished product. project

elements to Understand copyright and legal issues enhance media concerning visual and audio and use correct PR contacts in areas of interview and supporting materials

Reading List

Core text:  Smith, J. 2007. Essential Reporting: The NCTJ Guide for Trainee Journalists  Hicks, W. 2008. Writing for Journalists  Hicks, W. 2013. English for Journalists  Brayfield, C. 2008.Arts reviews : And How to Write Them  Cullup, M: 2000. Brush Up On Your Grammar

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Music & Digital Media

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 4 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Steve Cole Tutor: Steve Cole

Module Summary This module will introduce students into the world of online public relations mediums and the development of key software and content development. These tools are essential to successfully build reports, stories and news, which are clear and contextualised within the arena in which they situate themselves. Specific areas of specialism will reflect on the use of music and sound within the online world and how the music industry incorporates various techniques, styles and technology to produce contemporary work.

Aims  To explore an understanding of key technology involved with the production of public relations  Introduce techniques in online media production  To enable the leadership in the production of public relation mediums and be able to present ideas in a clear and effective manner  To develop your knowledge and technical skills to practise effectively as a music journalist  To develop your awareness of the cultural, historical and technological context within which the practice of music journalism operates and how these determinants may affect your future work in the field

Indicative Study Topics  Production of stories in digital mediums  Contextualisation of music and sound in respect of public relations  The key elements of reporting; news, structure, interpretation, direction etc.  Contemporary methods of disseminating information  Information delivery; clarity, cohesion, accuracy etc.  Design theory – good layout practice  File management  Image use on the layout – selection, cropping, working with captions and headlines, etc.  Image resolution and copyright  Proofreading  Typography

Teaching & Learning Methods This module will be delivered utilising a range of methods including: digital workstations, audio-visual resources, group and individual work, tutor/ student led discussion, workshops, demonstrations, e-learning through Moodle and independent study and research.

Formative Assessment You will be asked to present your projects for feedback in weeks 11-15 and receive tutor and peer feedback.

Learning Outcomes On completion of this module a successful student will be able to:

1. Describe the nature of online reporting and its manipulation through mediation for public relations purposes 2. Utilise key software to create, edit and manipulate layouts suitable for online public relations use 3. Locate, research and utilise appropriate sources of information clearly and effectively to a target audience

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Peer 5 mins 1 10% Formative 11 - 15 Assessment Presentation – Music and Digital Media Project Proposal 2 Music & 2500 words 1,2,3 90% Summative 25 Digital Media Project

Assignment Brief Project Proposal This assignment will take the form of a 5-minute presentation by the student to peers, and will consist of an overview of the music and digital media project proposal. Students will be required to present the proposal for feedback to help with the planning for the 2nd assignment, which is to be submitted in week 25.

Peer assessed assignments are marked by the group of students in class with students agreeing a grade for each candidate. Peers will provide written and verbal feedback using the generic BA (Hons) peer marking criteria. The tutor acts as moderator (and has final say if peers disagree over a mark) and arbiter to ensure standards are applied consistently and fairly and records the final marks on the mark-sheet.

Digital Media Project Students will develop and implement a clear and contemporary stylised report that utilises online publishing software focusing on the music industry arena. Appropriate language, terminology and contextualisation will be key to the success of the final piece of work, which will be developed from a clear body of research.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Describe the nature Show a working knowledge of the Peer of online reporting principle elements which are inherent in Assessment – and its manipulation online publications Music and through mediation for Digital Media public relations Employ a range of editing and Project purposes manipulation techniques Proposal

Effectively make changes relating to Music & Digital the core elements of public relation Media Project information

2. Utilise key software Effectively construct and imply a Music & Digital to create, edit and desired aesthetic to a layout Media Project manipulate layouts suitable for online Demonstrate a range of creative public relations use techniques to create an intended vision

Rework and apply creative and technical procedures to existing and new audio/visual elements

3. Locate, research and Use clear, concise and accurate Music & Digital utilise appropriate delivery methods of presentation Media Project sources of information clearly Utilise a variety of methodologies and and effectively to a procedures relating to the target audience dissemination of information

Reading List

Core text  Johnson, S. 2012. Brilliant In-Design CS6.  Hicks, W. 2002. Sub-Editing For Journalists.  Quinn, S. 2001. Digital Sub-Editing and Design.  Hand, D. 2014. Design For Media: A Handbook for Students and Professionals in Journalism, PR and Advertising.  Kobre, K. 2004. Photo Journalism: The Professionals’ Approach.

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BA (Hons) Music Journalism

Level 5

BIMM___ Engaging With Industry (WBL)

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 160 hours

Module Leader & Tutors Module Leader: Erica Thomas Tutor: Erica Thomas

Module Summary Work Based Learning (WBL) is a key integral component of the BA (Hons) in Music Journalism. The ability to engage effectively with industry practitioners will increase student employability and improve their ability to secure work.

This module is a collaborative effort between the course provider and local employers in which students are given an opportunity to integrate academic knowledge and understanding gleaned from the Year 1 of the course with vocational skills and competencies developed in their WBL experiences. By such means it introduces students to the realities of life as a practitioner in the event industry and the context of a self- employed portfolio career. Candidates are also given the opportunity to substantially document and reflect upon their experiences via the WBL Portfolio coursework assignment.

You are required to undertake a minimum of 40 hours Work Based Learning.

The policy and procedures of WBL in this module will follow the BIMM Work Based Learning Student Manual, which is available on the VLE (Moodle).

Aims  Identify career ambitions within the context of personal skills and attributes and to assess employment or self-employment prospects through engagement in research and analysis of the event industry  Integrate appropriate transferable skills to ideas for employment (time management, team work and planning)  Encourage students to develop an understanding of the event industry through work based learning and demonstrate an appropriate level of professionalism, recognising the value of self-assessment, self-promotion and networking  Reflection and evaluation of experiential learning and work based learning skills

Indicative Study Topics  Developing contacts in the industry and building a personal action plan  Good working practice and effective personal habits  Creating a curriculum vitae, covering letter  Career action planning.  Business plans and marketing campaigns  Funding and sponsorship in music  Personal Development Planning  Peer presentations, group or individual feedback of experiences  Career case studies

Teaching & Learning Methods This module will be delivered utilising a variety of methods including; tutor led lectures / workshops, group work, exercises, presentations, planning diaries, interaction with the VLE (Moodle) and independent study and research. Tutorials are available to students throughout the year.

Formative Assessment Formative assessment is integral to this module, as it is structured around the candidate’s search for Work Based Learning opportunities.

It includes:

 In-class WBL Progress Report presentations with self-evaluation forms and peer feedback  In-class Career Development Seminars with tutor and peer feedback  Compulsory scheduled tutorials with the Module Leader, the Head of Work Based Learning at BIMM or another suitable member of the specialised staff team  A signed formal Learning Agreement which must be completed and approved prior to the commencement of the WBL assignment and which forms part of the WBL portfolio coursework.

This emphasis on formative assessment is designed to assist the candidate in their preparation for WBL by offering at least four stages of feedback on their development, and will subsequently enable them to reflect appropriately on this experience as part of their summative assessment.

Learning Outcomes On completion of this module a successful student will be able to:

1. Demonstrate an organised and systematic approach to personal career development 2. Undertake and document Work Based Learning (WBL) according to course requirements 3. Evaluate the work experience undertaken

Assessment

No Assessment Length Learning Assessment Formative/ Assessment Methods Outcomes Weighting Summative Week Addressed 1 WBL Portfolio 3,000 words, 1,2,3 100% Summative W29 plus appendices and evidence of 40 hours WBL

Assignment Brief 1. WBL Portfolio (3,000 words plus evidence of 40 hours’ WBL, or equivalent) – Individual work

This assignment requires you to document the process of finding, carrying out and reflecting upon your WBL experience.

Whether you pursue an employer-based placement within an organisation or choose to undertake self-employed / entrepreneurial WBL, you must first agree the project and sign a Learning Agreement before commencing (see BIMM Student Guide to WBL, Appendix 1 and 2). You will need to book a tutorial with the Head of WBL in order to do this.

After you have undertaken your WBL, you will need to submit an account of this in the form of a WBL Portfolio containing the following sections:

(a) Curriculum Vitae

(b) Learning Diary (500 words approx.)

This should be a time bound log of your WBL experience, which details how the 40 hours (minimum) were spent. Provide details of your main roles and responsibilities and outline the tasks and duties undertaken during your WBL.

This should critically reflect upon your performance and the learning that you acquired during your project, as well as evaluating the context of your WBL and its usefulness to your future development. It should address the following areas:

• Why did I choose this WBL opportunity and how did I set it up? • What specific skills and competencies did I use and acquire whilst undertaking my WBL? (refer to such things as: organisational skills, technical skills (e.g. IT), research skills; communication skills; interpersonal/teamwork skills etc. as appropriate) • What were the main strengths and weaknesses of my performance whilst undertaking WBL and what feedback did I receive from my employer (if applicable)? • What did I learn about current music industry developments from undertaking WBL, and how does my area of WBL function as an element within the wider music business? • What reading and research did I undertake? How did this inform my WBL experience and develop my understanding of the wider music industry? • How has my experience of WBL influenced my future career goals and how useful will it be to my continuing professional development?

(d) Appendices (not included in word count)

Appendix 1: WBL Learning Agreement

Appendix 2: WBL Evidence. This evidence should refer to one of the following categories of experience:

(a) Employer-based WBL placements

Include either (a) a feedback questionnaire from your employer, or (b) the fact-finding questionnaires compiled during your work placement (see Student Guide to WBL Appendix 3 and 4).

(b) Self-Employed / Entrepreneurial WBL

The type of evidence required for this will need to be negotiated with the Head of WBL. Evidence may include the use of research methodology - e.g. questionnaires, interviews, case study material etc. - or examples of creative evidence of your WBL experience, such as a flyer or poster from an event, print outs of Facebook or website pages, or a completed business plan.

Appendix 3: Bibliography and Resources. Compile a list of resources that you used in relation to your WBL, including (as appropriate): books, magazines / periodicals, DVDs, online sources, professional industry organizations etc. You should aim to include at least ten resources in your list.

Assessment Criteria

Outcome You will be assessed Assessment on your ability to: method 1. Demonstrate an Reflect on professional activity and WBL Portfolio

organised and evaluate your development as a systematic approach practitioner within the event industry to personal career

development

2. Undertake and Negotiate and undertake a WBL WBL Portfolio document Work placement (or self-employed WBL) Based Learning according to course requirements (40 (WBL) according to hours minimum) course requirements Provide appropriate evidence of having

undertaken WBL

3. Evaluate the work Keep a record of - and reflect upon - WBL Portfolio experience your own practice and development undertaken during WBL

Demonstrate an understanding of how your chosen area of WBL functions as an element within the wider music business

Reading List

Core texts:

 Grierson, D. 2009. It All Begins With The Music: Developing Successful Artists and Careers for the New Music Business Course PTR  Rutter, P. 2011. The Music Industry Handbook Routledge  Strasser, R. 2009. Music Business: The Key Concepts Routledge

 Music Week 2011. Music Week Directory. CMP

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM___ Research Methods

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 Pre-requisite module or learning: BIMM___ Music Business Module type: Core

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 160 hours

Module Leader & Tutors Module Leader: Sini Timonen Tutor: Sini Timonen

Module Summary In a world of varied and competing information sources, professional journalists need to adopt a rigorous approach to original research and the use of social science data. This module introduces students to the tools of analytical journalism, social science research, desk research and a range of research methods, both qualitative and quantitative, used within the media, communications and across contemporary digital platforms and channels. Students will undertake an applied social research project, engaging with methodologies designed to generate original data and develop core research, analytical and presentation skills.

Aims  To develop a practical understanding of effective research methods and methodologies  To apply the principles of analytical research to written, broadcast and online media sources  To develop a critical understanding of key issues in research; including reliability, validity, bias, ethics and triangulation  To develop core research skills to aid the planning and design of journalistic and investigative research  To construct and reference work appropriately

Indicative Study Topics  Research methods in Higher Education and Journalism  Interviewing styles and qualitative social research  Methodology, methods and techniques  Devising and designing journalistic research projects  Developing a project proposal  Generating data and interpreting findings  Key issues in analytical research: reliability, validity, bias and ethics  Producing a project report  Effective project and time management

Formative Assessment Formative assessment will help you monitor the design and development of your project. It includes in-class presentations with peer led Q&A; in class exercises to develop written work, peer and tutor feedback and email feedback on draft presentations and projects.

Learning Outcomes On completion of this module a successful student will be able to:

1. Select and utilise a variety of appropriate research methods 2. Gather and interpret valid and reliable data 3. Demonstrate an informed understanding of their research problem, project design, methodology and project management

Assessment

No Summative Length Learning Assessmen Formative/ Assessmen Assessment Outcomes t Weighting Summative t Week Methods Addressed

1 Presentation 10 Minutes 1,3 20% Formative W16-W22

2 Research 3,500 1,2,3, 80% Summative W27 Project words

Assignment Brief Assessment 1 Students will deliver a presentation to their tutor group outlining the research questions, design and the rationale for their project. The presentation should define and justify the proposed research methodology, detailing any sources that have been instrumental in developing the project. The presentation should include a discussion of the ethics, validity, bias and potential threats to reliability that may arise within their proposed research. The presentation should also include a project hypotheses and a detailed outline of the ways in which the data will be gathered, analysed and used in the final journalistic submission.

Students are advised to negotiate their choice of subject and methodology carefully with the subject tutor before committing to a set path. Consider discussing the following questions: why is this project important to you? What do you hope to get from it? How might it lead into your 3rd Year project? How will it help develop your future career plans in journalism?

The presentation should last 10 minutes.

Assessment 2 Final assessment is in the form of a 1000-word journalistic submission based around the research findings from the project. In addition a 2500 word critical commentary discussing the chosen methodology, the research activity and how the data was gathered, interpreted and used within the final piece of journalism should also be included. Particular attention should be paid to issues of reliability, validity and bias in research and how you chose to mitigate any problems. Additional reading and research used to address the research topic and inform the design of the project should be acknowledged in the form of a review of the academic literature, opinion and desk research used.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Select and utilise a Understand and apply primary research Presentation & variety of appropriate methods and data collection techniques Critical commentary research methods Apply a range of research methods appropriate to journalistic research practice 4. 2. Gather and interpret Use graphic and info-graphic models to Critical valid and reliable demonstrate and represent data commentary

data Demonstrate an understanding of key issues in primary research, including validity, reliability, bias and ethics

3. Demonstrate an Demonstrate how secondary research and a Presentation & informed review of the literature has informed the project Critical design and research agenda commentary understanding of the

research problem Reflect on analytical research practice in the context of other work in the field of study

Reading List

Core texts:  Bell, J. (2005) Doing Your Research Project. 3rd Ed. Maidenhead: Open University Press.  Emm, A. (2010) Researching for the Media: Television, Radio and Journalism New York: Routledge Press  Philips, A. (2011) Journalism in Context New York: Routledge  Sampsel, L.J. (2009) Music Research: A Handbook. Oxford: Oxford University Press  Weerakkody, N. (2012) Research Methods For Media And Communication. Oxford: Oxford University Press

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM07 Cultural Perspectives

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 Hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Richard Lightman Tutor: Richard Lightman

Module Summary Professional music journalists – whether print, online or broadcast - require an in-depth knowledge of the popular music canon and the origins of contemporary music genres.

A cultural history of popular music from 1900 to 1970, this module examines the social and political conditions that influenced the development of popular music by evaluating key releases from influential artists and the wider cultural responses to them.

Students will explore the development of successive genres from Delta Blues, early Jazz to the Rock revolution of the late 1960s through the dynamic relationship between popular music, the media and social change.

Aims  Students will examine significant moments in the evolution of popular music genres.  Important artists and their work within each genre will be analysed according to the factors that have made them enduring and influential cultural icons.  Students will examine the social, economic, technological context of genre-defining artists in popular music history

Indicative Study Topics  The origins of important genres in popular music; including Blues, Jazz, Country, Gospel, Rock & Roll, Soul, and others  Popular music and race, including the influence of African American music on mainstream popular music  Popular music and gender, including the impact of gender relations and breakthrough women artists  Popular music and significant world events, including the impact of war and economic depression in 20th century popular music  Popular music and social class  Popular music and technological change: how did the development of new instruments or new means of distribution influence the development of genres  Popular music and faith: how have genres in music been influenced by prevailing religious beliefs?

Teaching & Learning Methods Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in-class presentations, group discussions, coursework, in-class exercises, e-learning facilitated by the BIMM VLE (Moodle) and independent study and research.

Formative Assessment Formative assessment includes tutorial, peer learner and tutor feedback in presentation sessions, email feedback on presentation scripts and draft essays, email negotiation of essay titles, Q&A and discussion sessions in class.

Learning Outcomes On completion of this module a successful student will be able to:

1. Understand the origin of important genres in Popular Music 2. Explore the relationship between Popular Music and social change 3. Understand the contribution of a key artist from 1900 to 1970 4. Use academic resources to evaluate the impact of this artist in detail

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Short Essay 1,000 1,2,3,4 25% Formative W19 words 2 Long Essay 3,500 1,2,3,4 75% Summative W27 words

Assignment Brief 1. Short Essay (1,000 words) – Individual work Choose an artist within the timeline of the module (1900-1970) and select one key song from their career as a defining example of their work.

Your title should simply be the name of the artist and the title of the song, for example: Louis Armstrong, ‘Wonderful World’. Please note: the artist must be different to the one chosen for the long essay.

Using the chosen song as an example, show how your artist influenced their genre and how their music reflected key cultural and social developments of the time. Refer to the recurrent themes and study topics of the course (race, technology, world events, gender, religion, media, youth, etc.) where appropriate.

Demonstrate academic rigour by engaging with a wide range of literature, including peer reviewed journals and other sources from the published reading list. All written work submissions should be accompanied by a bibliography.

*Please refer to the "Submission of Work For Assessment" section at the back of this manual and the HE Student Quality Manual for further guidance on how to present and submit your work

2. Long Essay (3,500 words) – Individual work This assignment asks you to evaluate the social, cultural and political context of an important and influential album release (or a collection of songs) in the period 1900 to 1970.

Choose an artist from this period and examine their relationship to the cultural and social framework of their era with reference to an important or influential album (or collection of songs). Please note: the artist must be different to the one chosen for the short essay.

Analyse and evaluate your chosen artist in relation to their associated genre, their lyrics, their musical creativity, their social and political context, their impact on music and popular culture and their relationship to the themes of this module (class, race, gender, world events, technology, religion, etc.) as they are relevant.

Your essay title can be from the options given on the BIMM VLE (Moodle), or it can be a title of your own choosing. Original essay titles (those not from the options on the BIMM VLE (Moodle) must be negotiated in advance via email discussion with the Module Leader. They should be formatted using a quote pertaining to your artist taken from the material on the reading list or other high-level texts.

An example of a well-formatted essay title:

“The psychic shiver that Sgt Peppers sent through the world was nothing less than a cinematic dissolve from one Zeitgeist to another.” Discuss. MacDonald, I. (1994) Revolution in the Head Fourth Estate p220

Essays should be neatly presented in accordance with academic conventions. Your work should incorporate the relevant course themes and demonstrate engagement with suitable reading.

Source material should reflect appropriate academic standards and should include material from the course book list, peer review journals, and other relevant texts. All written work submissions should be accompanied by a bibliography.

*Please refer to the sections entitled “Submission of Written Work” and “Essay & Written Work Format” in the General & Assessment Regulations at the back of this manual for further guidance on how to present and submit your work

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Understand the origin Demonstrate a detailed knowledge and Short Essay of important genres informed understanding of the career of Long Essay in Popular Music a genre-defining artist from 1900 to 1970

Comment critically on the contribution of that artist to their associated genre of popular music and their wider contribution to popular culture

2. Explore the Critically evaluate the contribution of a Short Essay relationship between key artist in relation to societal and Long Essay Popular Music and cultural changes in the period social change Comment on the interaction between popular music and important cultural and/or social developments in the period

Present arguments coherently and clearly

3. Understand the Present a detailed evaluation of the Short Essay contribution of a key contribution of an important artist from Long Essay artist from 1900 to the period 1970 Make informed references to influential work from a key artist

4. Use academic Demonstrate academic rigour by Short Essay resources to evaluate engaging with a wide range of literature Long Essay the impact of this (including peer review journals and artist in detail other resources on the reading list)

Present fully referenced work accompanied by a detailed and relevant bibliography.

Reading List

Core texts:

 Curtis, J, (1987.) Rock Eras: Interpretations of Music and Society 1954 – 1984. Bowling Green: Bowling Green State University Press  Frith, S. et al 2001 Cambridge Companion to Popular Music Cambridge: CUP  Shuker, R. 2012 Popular Music Culture: The Key Concepts London: Routledge  Starr, L. and & Waterman, C. (2003) American Popular Music New York: OUP  Wald, E. 2009 How The Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music Oxford: OUP (eBook)

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Artist Development and PR

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Erica Thomas Tutor: Erica Thomas

Module Summary Students will learn about the work of artist promotion, marketing and PR in this module and how a marketing campaign can help an artist breakthrough, or enhance the profile of an existing one. They will learn about writing biographies, campaigns (online and off), writing press reports and the relationship between the journalist and the PR. On successful completion of the module students will have the necessary knowledge, understanding and transferable and key skills to work successfully in a key area of the music industry.

This module also provides an introduction to marketing and communications, examining the formation and development of the key marketing principals and theories from the early Twentieth Century to the present day. It outlines key concepts and techniques essential to understanding and engaging with the range of different music marketing environments in the contemporary music industry.

Aims  To examine the evolving theory and philosophy behind core marketing principals and their relationship to the marketing of artists  To explore the interrelationship between marketing in a variety of music business environments including record and artist marketing  To examine the roles of a variety of marketing practitioners and learn how to incorporate and employ these specialties in to a cohesive marketing team.  To evaluate and utilise a range of business analysis tools and apply them to the formulation of their own marketing strategy.  To find appropriate and effective ways to promote their acts and products to consumers using online technology

Indicative Study Topics  The historical context from which key marketing theories and their to consumers using online technology  The historical context from which key marketing theories and their primary proponents emerge  Ethical constraints and considerations assessed in a historic and contemporary context  The study of consumer psychology and what informs their brand engagement and purchase decisions  The marketing mix, its development as a concept and its basis for contemporary marketing planning  Did video kill the radio star? The evolution of traditional music media channels  Media Platform development from papyrus to iPad, from the phonograph to Spotify  Market scanners - business environment evaluation tools  Formulating a marketing strategy and creating a marketing plan

Teaching & Learning Methods Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning facilitated by Study Direct and Independent study and research.

Formative Assessment This module has two items of assessment – an Artist PR Campaign with a 90% weighting and a presentation with 10%.

The Campaign Presentation will allow your plan to be critiqued by your peers and tutors in their feedback.

You will also be able to book tutorials with the tutor, module leader and course leader for direct feedback on the progress of your coursework.

You will be asked to deliver your presentation for feedback in weeks 11-15, and receive tutor and peer feedback.

You will present your campaign as a project in weeks 20-25.

Learning Outcomes On completion of this module a successful student will be able to:

1. Interpret and analyse key concepts in event and music marketing 2. Apply the principles of marketing to identify appropriate strategies for a band, artist, product or event 3. Design and appraise a marketing plan for a band, event, product or service

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Campaign 5 mins 1,2 10% Formative 11 -15 presentation Presentation 2 PR 1500 words 1,2, 3 90% Summative 25 Campaign Report

Assignment Brief 1. Campaign Presentation You must launch a campaign in a 5-minute presentation for a new act/artist connected to BIMM. You will be required to present the proposal for feedback to help with the planning for the 2nd assignment, which is to be delivered in week 25.

2. PR Campaign Project/Report You then must devise a promotional strategy for online or print, presenting a biography and key press interviews with appropriate lead times, marketing ideas and a press reports. The presentation must utilise technology and appropriate language, terminology and contextualisation will be key to the success of the final piece of work, which will be developed, from a clear body of research.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method Interpret and analyse Identify and utilise key marketing PR Campaign key concepts in event principals and concepts. and music marketing Understand and apply key marketing principles in relation to music industry practice.

Apply the principles of Develop a meaningful understanding of PR Campaign marketing to identify and a range of analytical tools for the prioritise appropriate purposes of environmental and internal strategies for a band, analysis event, product or service Apply such tools to a product using the marketing mix system

Design and appraise a Develop technical business PR Campaign marketing plan for a communication skills appropriate to the band, event, product or creation of a marketing plan service Present work appropriately according to the professional standards and academic conventions

Reading List

Core texts:  Brassington F and Pettitt S. 2010. Principles of Marketing (4th ed) Prentice Hall  Kotler P., Armstrong G, Wong V, Saunders J, and Burkwood (2010) Principles of Marketing (5th European Edition) Financial Times / Prentice Hall  Levine, M. 2008. Guerrilla P.R. 2.0: Wage an Effective Publicity Campaign without Going Broke. Harper Business  Armstrong, G. et al 2011 Marketing: An Introduction Pearson  Hutchinson, T. 2009. Record Label Marketing Focal Press

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Music Journalism: Principles and Practice 2

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 BIMM ___ Music Journalism: Principles and Pre-requisite module or learning: Practice 1 Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: John James Dunning Tutor: John James Dunning

Module Summary This module will further develop skills introduced in the year one level 4 module Music Journalism: Principles and Practice, and also Writing For The Music Industry. Each student will work in various writing and publishing roles as in a real office in print and online (including audio and video).

Students will learn how to pitch, produce and design their own BIMM Music magazine. Students will start with research to determine the requirement for a music magazine in their area. They will pitch and plan schedules to tie in with production and content timelines and learn how to flat plan a magazine.

They will learn about magazine readerships and how cover artists are chosen. They will also learn about music journalism and regulation and learn about the law of defamation, libel and contempt and how the findings of The Leveson Inquiry affect music journalism.

Aims  To plan, launch and produce a print and online magazine  To research, create, design and publish the project  To enable the leadership in the production of music journalism mediums and be able to present ideas in a clear and effective manner  To develop your knowledge and technical skills to practise effectively as a music journalist  To contribute effectively to team work and accept responsibility in areas with confidence  Understand key principles, freedoms and restrictions in the legal and regulatory frameworks governing music journalists working in England and Wales

Indicative Study Topics  Popular music journalism in print and digital mediums  The key elements of reporting, interviewing, reviewing and editing  Contemporary methods of disseminating information  Information delivery; clarity, cohesion, accuracy etc.  Design theory – good layout practice  File management  Image use on the layout – selection, cropping, working with captions and headlines, etc.  Image resolution and copyright  Proofreading  Typography  Media Law  The Leveson Inquiry  The conflicts between the media’s commercial imperative and its democratic watchdog role.  Social media and music journalism  Online music journalism and ethics

Teaching & Learning Methods This module will be delivered utilising a range of methods including lectures, seminars, workshops, discussions, role play digital workstations, audio-visual resources, group and individual work, tutor/ student led discussion, learning through Moodle and independent study and research.

Formative Assessment You will be asked to present your projects for feedback in weeks 11-15 and receive tutor and peer feedback.

Learning Outcomes On completion of this module a successful student will be able to: 1. Design, plan and execute a print and/or online magazine 2. Summarise ethical and legal issues within music journalism 3. Utilise key software to create, edit and manipulate layouts 4. Engage in a professional manner with PR’s, record labels and managers to secure interviews

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Music 5 mins 1 10% Formative 11 –15 Project Presentation Proposal 2 Music 16-page 1,2,3 90% Summative 25 Project magazine (Print)

Assignment Brief Students will form groups and then pitch and produce a 16pp print and digital music magazine suitable for BIMM students. Throughout this production students will identify their employability skills and develop specialist approaches.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Design, plan and Demonstrate knowledge on surveys, Music Project execute a print gathering information, markets, and proposal and/or online readerships and writing styles magazine

2. Summarise Identify legal terms and laws within the Music Project ethical and legal wider scope of media journalism issues within music journalism

3. Utilise key Understand InDesign, Photoshop, Music Project software to Word, PowerPoint plus layout and create, edit and visualisation skills manipulate layouts

4. Engage in a Develop contacts and the confidence Music Project professional to secure and interview artist to a manner with professional standard PR’s, record labels and managers to secure interviews

Reading List

Core text  Hicks, W. 2013. English for Journalists  Hicks, W. 2002. Subediting for Journalists  Dodd, M and Hanna, M. 2014 McNae's Essential Law for Journalists  Friedlander, Edward Jay. 2008. Feature Writing for Newspapers and Magazines: The Pursuit of Excellence

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

BIMM__ Digital Media Production

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 5 Module Credits: 20 Pre-requisite module or learning: BIMM____ Music and Digital Media Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 160 hours

Module Leader & Tutors Module Leader: Steve Cole Tutor: Steve Cole

Module Summary This module will see students developing the language of print into multimedia facets as they explore various methods for delivering clear and dynamic work. New contemporary methods of PR (Branding, Electronic Press Kits) will be incorporated into the module, enabling students to apply these skills to a range of services.

Aims  To facilitate an understanding of contemporary methods of PR  To introduce techniques in the use of software and hardware for multi-media production  To develop leadership in the production of public relation mediums and be able to present ideas in a clear and effective manner  To foster the innovative and creative communication skills necessary for you to function in the role as a professional music journalist.

Indicative Study Topics  Contemporary digital mediums  Contemporary methods of disseminating information  Audio/visual assets  Electronic press kits

Formative Assessment Students will be asked to present your projects for feedback in weeks 11-15 and receive tutor and peer feedback.

Learning Outcomes On completion of this module a successful student will be able to: 1. Identify the structure and process of digital media in the creative industries 2. Undertake the technical and creative production of a digital media project 3. Demonstrate innovative and creative communication skills necessary for the role as a professional music journalist

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed 1 Peer 5 mins 1 10% Formative 11 -15 Assessment Presentation – Digital Media Project Proposal 2 Digital Media 2500 words 1,2,3 90% Summative 25 Project

Assignment Brief

Project Proposal This assignment will take the form of a 5-minute presentation by the student to peers consisting of an overview of the digital media project proposal. The learner will be required to present the proposal for feedback to help with the planning for the 2nd assignment, which is to be delivered in week 25.

Digital Media Project Students will produce a complete campaign that utilises audio and visual components for a given artists/brand/service. Using imaging capture technology, all images in this exercise will be developed by the student and adhere to resolution, copyright and formatting requirements. Contextual understanding will be key to the success of the work, which must be clearly transmitted within the work.

Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Identify the structure Utilise a variety of techniques that are Peer and process of digital inherent in the contemporary music Assessment – media in the creative media industry Music and industries Digital Media Explore and integrate structures within Project the music media industry Proposal

5. Employ music media concepts in Digital Media relation to communication studies Project

2. Undertake the Develop and establish media Digital Media technical and production that adhere to professional Project creative production of standards a digital media project 6. Demonstrate the ability to design, produce and establish appropriate music journalism materials for a media project

Demonstrate a range of creative techniques to create an intended vision

3. Demonstrate Use contemporary delivery methods of Digital Media innovative and presentation Project creative communication skills Deliver information relating to music necessary for the journalism in a professional and role as a professional dynamic way music journalist

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Reading List

Core text  Johnson, S. 2012. Brilliant In-Design CS6.  Hicks, W. 2002. Sub-Editing For Journalists.  Quinn, S. 2001. Digital Sub-Editing and Design.  Hand, D. 2014. Design For Media: A Handbook for Students and Professionals in Journalism, PR and Advertising.  Briggs, M. 2013. Journalism Next: A practical Guide to Digital Reporting and Publishing  Morgan, V. 2007. Practicing Video Journalism: Theory into Practice.

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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BA (Hons) Music Journalism

Level 6

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BIMM20 Professional Project

Key Information Course: BA (Hons) in Music Journalism Module Code: BIMM20 Module Level: 6 Module Credits: 40 Pre-requisite module or learning: BIMM 05 Research Methods Module type: Mandatory

Teaching & Learning Lectures: 21 x 1.5 Hours Tutorials: Through Final Term up to 2hrs Personal Development Time: 366.5 Hours

Module Leader & Tutors Module Leader: Graham Jackson Tutor(s): Graham Jackson

Module Summary This module ensures that students confront their responsibilities as professionals and manage a project that is rooted firmly in the professional world: jobs in the music business vary enormously and most musicians need to be adaptable and flexible in order to carve their own niche in the industry.

Final projects must be realistic and achievable, and are linked with the earlier Course Planning and Research Methods modules. During the module, students will consolidate the skills and experience gained through the course of their studies. Students will draw upon their research; project planning, managerial and team working skills.

Students will be expected to deliver an appropriate project plan that includes: market research, planning and project management tools such as a project CPA (Critical Path Analysis), Gantt Chart, etc., and financial planning. Consideration will be given to a student’s personal development and he/she will be encouraged to adopt advanced time and stress management skills in order to become an effective project manager.

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Success in this module requires the use of reflective practice skills, as developed in earlier modules. In the final stage of their studies, students will be able to utilise their analysis of past experience to create theories upon which to base models for future working practice.

Aims  To devise an effective project for the public arena  To analyse previous academic and practical experiences during the B.A. course and apply these effectively and appropriately within the context of a research project.  To practically apply appropriate research methodologies to a real world project  To evidence effective project management

Indicative Study Topics  The practical application of research methodologies within the context of a professional project  Press, promotions and media management (including tour management)  Distribution of music-related products  Team working skills (including team role allocation and leadership skills)  Project Planning and Project Management  Reflective and learning skills  The appropriate layout and presentation of business plans – constructing a convincing real world project

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Teaching & Learning Methods This module will be delivered using a range of methods including; formal lectures with audio/visual support, small group work, coursework, in class exercises, tutor demonstration, guest speakers and e-learning through Study Direct and independent study and research.

Tutorial support is co-ordinated by the module leader. It is your responsibility to initiate feedback once the lecture period is over, and to book tutorials through the usual system. Professional Project Seminars will be an opportunity to discuss drafts of your final project.

Formative Assessment Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, course work, independent study, research, and written assignments.

Learning Outcomes On completion of this module a successful student will be able to:

1. Demonstrate a considered approach to ensuring validity and accuracy within the context of a project 2. Undertake a music related project activity within the professional and academic arena, demonstrating the ability to discuss existing theory* and arguments to rationalise project activity 3. Demonstrate a practical understanding of music related project management skills 4. Apply reflective practices to a music related project, linking theory* with practice and producing recommendations for future working practice.

*For clarity, this is not necessarily cultural theory, it is any informed approach. For example, in an educational project, this would include educational theory etc.

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Assessment

No Assessment Length Learning Assessment Formative/ Assessment Methods Outcomes Weighting Summative Week Addressed 1 Project 1,000 1,2,3 20% Formative W10 Planning words Proposal 2 Project 8,000 1,2,3,4 80% Summative W28 Report words

Assignment Brief 1. Project Planning Proposal (1,000 words) - Individual Work The Proposal will outline the project that you will subsequently undertake in this module.

You will need to describe and justify your choice of project, proposed research methodology, and initial project planning including a business model, and business plan where appropriate. Students are advised to negotiate their choice of subject and methodology carefully with the subject tutor before committing to a set path.

The Proposal is also an opportunity to demonstrate and explain your project. Topics include: what prompted your original idea; the desired outcomes of the project; your activities within the project; and your research methodologies and methods. You should put your work in context within the wider perspective of the professional and academic arenas and existing theory in your field.

You should consider the following factors whilst developing your proposal:

 What is the title and goal of the project?  How will this be achieved?  What research activity will support your work?  Bibliography  Appendices

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2. Project Report (8,000 words) - Individual Work The project is a written analysis and evaluation of a professional project that you have undertaken. Your project report should meet the academic requirements of the course; you should ensure that you have given full attention to academic arguments and the critical action that links with critical thinking.

Your work should:

 Maintain a critical approach  Be coherent and concise  Be persuasive, developing a reasoned train of thought that makes clear the parameters of the project  Demonstrate the ability to analyse and qualify data and experience, drawing conclusions and recommending improved future working practice.  Evidence practical application of theoretical concepts

You do not need to have completed your project activity and analysis before starting to write up the report. The format for the project is listed below:

Title page - Title of project, module title, name and date.

Contents page - With chapter headings and page numbers (do this section last!)

Summary - Explain what the project was about, the main approach and research methodology used, and major conclusions and recommendations. This section should make clear any connection between Research Project and final Professional Project.

Introduction - This is likely to be an explanation of why the project area is important, putting it into a professional context and mapping the choice of project against the specified project criteria.

Literature review - You should demonstrate the way in which supporting literature (or other material) influenced and shaped your study. You should not restrict yourself solely to discussing material that agrees with your point of view: evaluating conflicting sources is an important part of research. Your investigation of existing thinking and theory within your field and how you have responded to this should be discussed here.

Methodology - Describe and justify your choice of research methods. You should critically evaluate the approaches used and, if appropriate, discuss how triangulation reinforces the validity of the findings.

Project activity - What you did. What helped and hindered your project.

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Project findings - Present your findings in a clear way with full discussion and interpretation. When presenting numerical data it is sometimes wise to use a visual representation (e.g. a graph) of major results. Ensure that numerical results are statistically meaningful.

Conclusions and recommendations - This section needs to be clear and concise, with the conclusions clearly drawn from the project findings. You should analyse past experience to create theories upon which to base models for future working practice.

Notes and references - Use footnotes to add information without interrupting the flow of your sentences. Use bibliographic references to support your argument.

Appendices - Illustrative and support materials referred to in the text should be included in appendices (e.g. copies of questionnaires and surveys used in gathering research data).

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Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Demonstrate a Comment critically on the validity and Project considered approach accuracy of their own research activity Planning to ensuring validity and findings Proposal/ and accuracy within Project Report the context of a project 2. Undertake a music Draw upon existing thinking in the Project related project appropriate specialist field(s) to refine Planning activity within the and justify approaches and activity Proposal/ professional and Project Report academic arena, demonstrating the ability to discuss existing theory and arguments to rationalise project activity 3. Demonstrate a Allocate team roles effectively Project practical Resolve team issues (such as Planning understanding of discipline and conflict) appropriately Proposal/ music related project Produce relevant planning Project Report management skills documentation and financial planning details (profit forecasts and actual profit and loss accounts) where appropriate 4. Apply reflective Analyse past experience to create Project Report practices to a music theories upon which to base models for related project, future working practice linking theory with practice and producing recommendations for future working practice

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Reading List

Core text  Sanghera, P. (2009). 90 Days To Success As A Project Manager, Boston, MA: Course Technology  Rogers, J. (2013) The Death and Life of the Music Industry in the Digital Age, Bloomsbury  Hutchison, T. Macy, A. & Allen, P. (2010). Record Label Marketing, Burlington  Walliman, N. (2011). Research Methods- The Basics, Routledge  Verzuh, E. (2008), The Fast Forward MBA In Project Management, Hoboken, N.J.: John Wiley & Sons  Reuvid, J. (2011). Start Up and Run Your Own Business, Kogan Page

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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BIMM17A Professional Development

Key Information Course: BA (Hons) in Music Journalism Module Code: BIMM17A Module Level: 6 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning Lectures: 20 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 169 Hours

Module Leader & Tutors Module Leader: Harry Leckstein Tutor: Harry Leckstein

Module Summary This module gives you the opportunity to explore and develop the personal, interpersonal and team skills that count towards success.

The module will introduce what are often called the “soft” skills – or the “emotionally intelligent” skills – that are increasingly vital for personal and business success. They are particularly important for freelancers.

Throughout the module, the emphasis is on developing the skills you need in a way that is personally relevant to you. Teaching sessions will be run in a hands-on, participative workshop style, to support you in learning through and from your own experience.

You will get an immediate chance to practice your developing skills through using them in your own business development and/or your Year 3 project – and will also be able to bring skills-related issues from your projects back into this course for discussion and support.

Aims

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 To help students identify the current strengths and weaknesses of their personal and business skill sets;  To enable students to develop and practice a wide range of personal and business skills;  To develop students’ abilities to self-motivate, set realistic goals, and work effectively both independently and in team settings.

Indicative Study Topics  Personal style, strengths and weaknesses, including: MBTI profiling; an examination of learning styles; personal robustness; and working effectively with people with different preferences from your own.  Working in teams, including: Belbin team roles; Tuckman team development; identifying and trouble-shooting problems in teams; and styles and dimensions of team effectiveness.  Leadership, including: goal setting; facilitation and mentoring skills; coaching yourself and others; individual and team interventions to improve performance; conflict handling and resolution.  Personal and interpersonal business skills, including: communication in business contexts; managing time and stress; networking and referrals; negotiation skills.  Branding and selling, including: developing a leveraged personal presence; selling your skills; advertising strategies.  Building an online presence, including: emerging business models; Web 2.0; e-myths and other dangers; freelancing; and entrepreneurship.

Teaching & Learning Methods The module is taught week by week in an interactive and participative workshop style. Sessions will consist of a mixture of tutor and student-led input; experiential learning activities; seminars; and personal / group reflection. Students are encouraged to keep a learning diary during the course as a way of tracking their personal and business-skills development outside of class. E-learning materials will also be made available on Study Direct. Students will be expected to read independently.

Formative Assessment Frequent feedback on individual and team experiential learning tasks week by week. Peer feedback on assignment plan.

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Learning Outcomes On completion of this module a successful student will be able to:

1. Undertake independent personal development and business development activity 2. Analyse the results of this activity 3. Critically evaluate a range of tools/methods for personal and business development, relating these tools to their own developmental activity

Assessment

Assignment Summative Length Learning Assessment Assessment Assessment Outcomes Weighting Week Methods Addressed 1 Reflective 3,000 1, 2, 3 100% W27 Essay words

Assignment Brief Reflective Essay (3,000 words)-Individual Work Critically evaluate how you have used what you have learned during this module to support your personal / professional development and improve your business skills and performance. Include an analytical account of the independent personal / business development activities you have undertaken during the course of the year.

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Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Undertake Plan and carry out appropriate personal Reflective independent and business development activity Essay personal development and Produce a reasoned account of their business own strengths and weaknesses development activity 2. Analyse the results of Reflect on the results of their Reflective this activity developmental activities, producing a Essay well-evidenced account of their successes and failures

Make well-founded and credible plans for future work 3. Critically evaluate a Relate the tools and methods Reflective range of tools discussed in class to their own Essay /methods for developmental activities personal / business development, relating Evaluate the models used, drawing on these tools to your personal experience and knowledge-in- own developmental action activity.

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Reading List

Core text  Clancy, A. et al (2011). The Success Gurus: 17 lessons in greatness from the best minds in business. London: Portfolio / Penguin. (eBook)  Basco, M. (2010). The procrastinator’s guide to getting things done. New York: Guilford Publications Inc.  Bird, P. (2010). Improve your time management. London: Hodder & Stoughton.  Luc, E. (2009). Unleashing your leadership potential: seven strategies for success. Plymouth: Rowman & Littlefield.  McGee, P. (2010). Self-confidence. Chichester: John Wiley.  Richard, D. (2010). Succeed for yourself. London: Kogan Page.

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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BIMM21 Analytical Perspectives

Key Information Course: BA (Hons) in Music Journalism Module Code: BIMM21 Module Level: 6 Module Credits: 20 BIMM___ Cultural Perspectives Pre-requisite module or learning:

Module type: Mandatory

Teaching & Learning Lectures: 26 x 1.5 Hours Tutorials: 1 Hour Personal Development Time: 160 Hours

Module Leader & Tutors Module Leader: Sini Timonen

Tutor: Sini Timonen

Module Summary Music journalists must have an appreciation of historically important material if they are to enjoy long-term success and credibility. They must understand recent developments in music can build upon that foundation by producing innovative material.

This module presents a critical history of popular music from 1970 to the present day. Significant artists will be examined in relation to their cultural, social and political impact and their continuing influence on contemporary music genres. The module will also draw on theoretical contexts found in the wider discipline of cultural studies, such as critical theory and postmodernism.

You will be expected to develop a sophisticated understanding of our cultural and musical antecedents and will be encouraged to analyse, synthesise and evaluate the circumstances around significant moments in the history of popular music since 1970.

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This module will oblige you to engage with in depth reading and demonstrate an appropriate level of academic rigour. You will be required to engage in critical debate with full justifications and explanations for your reasoning.

Aims Students will be encouraged to examine significant moments in the evolution of popular music genres. Important artists and their work within each genre will be analysed according to the factors that have made them influential cultural icons. This will include:

 Lyrical inventiveness and musical creativity  The cultural, social and political context of the time  Economic, social and technological change  Theoretical approaches to popular music, such as critical theory and postmodernism

Indicative Study Topics Study topics may include:

 Theodor Adorno and the Frankfurt School  Postmodernism in pop and rock music  Postcolonialism and African-American cultural expression in funk, hip hop, ebonics, gangsta rap  The rise and fall of disco  Krautrock: synthesizers, sampling and the avant-garde  Punk and post-punk culture

Teaching & Learning Methods Teaching and learning is delivered via lectures, Q&A, audio material and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning through Study Direct and independent study and research.

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Formative Assessment Formative assessment includes tutorials, email negotiation of essay titles, email feedback on draft essays, Q&A and discussion sessions in class.

Learning Outcomes On completion of this module a successful student will be able to:

1. Analyse and interpret the development of a key genre in Popular Music from 1970 to the present day 2. Critically evaluate the relationship between Popular Music and wider cultural issues 3. Construct an informed argument about the contribution of a key artist from this period 4. Critically appraise the artist’s cultural significance, using scholarly literature at the forefront of the discipline

Assessment

No Assessment Length Learning Assessment Formative/ Assessment Methods Outcomes Weighting Summative Week Addressed 1 Essay 4,000 1,2,3,4 100% Summative W26 words

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Assignment Brief 1. Essay (4,000 words) This assignment asks you to evaluate the social, cultural and political context of an important and influential album release in the period 1970 to the present day.

Students are required to develop a clear and coherent written argument that demonstrates deep reading (including material on the course reading list and peer review academic journals) and shows an appreciation of the module’s rationale.

Choose an artist from the period 1970-present day and examine their relationship to their cultural and social context with reference to an important or influential album.

Analyse your chosen artist and album in relation to their associated genre. Discuss their social context and their lyrical and musical creativity. Evaluate their impact on popular music and on wider popular culture as a whole. Engage with appropriate theoretical approaches such as critical theory, postmodernism, and others where relevant.

Demonstrate that you have engaged with the course reading material and appropriate academic peer reviewed journals. All quotes and ideas should be fully referenced using HRS and all written work submissions should include a bibliography.

The work should be well structured and free from grammatical errors. Essays should be presented according to the written work submission guidelines published in this manual.

Your essay title can be taken from the suggestions provided on Study Direct, or it can be negotiated in advance via email discussion with the course tutor. Self-authored titles should consist of a quote pertaining to your artist taken from appropriate reading material. Deadlines for essay title negotiation will be published on Study Direct.

Here is an example of a well-formatted essay title:

“Thriller demonstrated a kind of across the board appeal that established new and still unduplicated heights of commercial success.” Discuss. Starr, L. & Waterman, C. (2003) American Popular Music, London: OUP, p385

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Assessment Criteria Outcome Students will be assessed Assessment on their ability to: method 1. Analyse and interpret Demonstrate a detailed knowledge Essay the development of a and informed understanding of the key genre in Popular career of a genre-defining artist Music from 1970 to the present day Comment critically on the contribution of that artist to their associated genre of popular music and their wider contribution to popular culture 2. Critically evaluate the Critically evaluate the contribution of a Essay relationship between key artist in relation to societal and Popular Music and cultural changes in the period wider cultural issues Comment on the interaction between popular music and important cultural and/or social developments in the period

Present arguments coherently and clearly 3. Construct an Present a detailed evaluation of Essay informed argument contribution of an important artist from about the the period contribution of a key artist from this period Make informed references to influential work from a key artist

Engage with appropriate theoretical approaches to popular music studies 4. Critically appraise the Demonstrate academic rigour by Essay artist’s cultural engaging with a wide range of significance, using literature (including peer review scholarly literature at journals and other resources on the the forefront of the reading list) discipline Present fully referenced work accompanied by a detailed and relevant bibliography.

Engage with appropriate theoretical approaches to popular music studies

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Reading List Core text  Ashplant, T. 2001. Explorations in Cultural History. Pluto Press. “Part 1: In Search of Cultural History: Schools, Methods, Disciplines, Influences’ [eBook]  Strinati, D. 2004 An Introduction To Theories Of Popular Culture London: Routledge 2nd Ed [eBook]  Adorno, T. & Horkheimer, M. 1944 ‘The Culture Industry: Enlightenment as Mass Deception’ [online] http://marxists.org/reference/archive/adorno/1944/culture- industry.htm

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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BIMM__ Creative Entrepreneurship

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 6 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 25 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: Jacqui Swift Tutor: Jacqui Swift

Module Summary This module prepares you for the challenge of being a freelance music journalist working in today’s print and online media and/or as a PR.

From finding original news or features, discovering and breaking into new markets, writing for specialist music publications, the module covers the essential skills that every successful freelance music writer and editor needs.

You will learn the first steps in freelancing, making initial contact with commissioning editors, how to pitch, lead times, writing to a deadline, and the importance of understanding different music magazine markets and their audiences. You will also learn how to resell interviews to syndication companies or other magazines.

It is expected that on completion of the course, you will be equipped with the knowledge and expertise to successfully pitch story ideas and develop contacts made through previous work experience.

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Aims  To prepare for life as a freelance music journalist and set yourself up as a business, working across titles and platforms in today’s world in a ‘portfolio career”  You will learn how to divide interview between publications and platforms for maximum effect and income, learn how to pitch successfully and understand readerships and current trends in music journalism.  You will also understand media law, copyright and ethics and learn about financial issues as tax, vat and invoicing for payments.  You will learn how to successful work independently.

Indicative Study Topics  Research and understand different readerships?  How to pitch successfully without giving your idea away  Making the right contacts and keeping them  How to make the most out of your interview  Meeting the demands of commissioning editors  Writing to market and style  Understanding issues relating to professional practice  Knowing other areas to sell to  Prepare an update a CV and professional website  Using social media to your benefit  Invoicing and the taxman

Guest lecturers and speakers will explain how is it to work in the freelance world.

Formative Assessment You will be asked to present your pitch for feedback in weeks 11-15 and receive tutor and peer feedback. This will be followed by your features and CV and online website in weeks 25-30.

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Learning Outcomes On completion of this module a successful student will be able to:

1. Define markets for different music publications and platforms, and identify styles needed to relate ideas and features 2. Pitch correctly and successfully and make and keep contacts for future commissions 3. Research and write in a range of styles and work independently to produce written material using primary and secondary sources

Assessment

No Summative Length Learning Assessment Formative/ Assessment Assessment Outcomes Weighting Summative Week Methods Addressed

1 The Pitch 15 mins 1,2,3 30% Formative 11 - 15 Presentation

2 2 x Features, 1000 words 1,2,3 70% Summative 25 CV and each website

Assignment Brief Students must prepare and present three music feature pitches to a panel of industry experts in a ‘Dragon’s Den’ style setting with the aim of securing a commission. Each pitch must be timely and publication-specific.

From their pitch presentation students choose two of the music feature ideas, paying attention to feedback given at the pitch and develop them to write 2 x 1000 word articles for the publications they pitched them to. Work must be the student’s own and contain relevant interviews, be balanced and perfectly pitched to the audience of your chosen title. Every music feature must be topical, saleable and show evidence of market suitability.

Students are then required to create an online CV and website using the latest software to showcase their experience and skills in the music industry.

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Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Define markets for Research and identify readerships and Pitch and different music suitability and style of work to fit the features publications and publication or platform platforms and identify styles needed to relate ideas and features

2. Pitch correctly and Make contacts and know how to Pitch and CV successfully and approach commissioning editors with make and keep the right tone and stage of a developed contacts for future idea commissions

3. Research and write Write confidently, to the desired word Pitch and in a range of styles count with balanced quotes from feature and work interviews, which consider legal issues independently to related to (music) journalism. produce written material using primary and secondary sources

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Reading List

Core text  Leverton, M. 2010. Work As A Freelance Journalist  Quinn, C. 2010. No Contacts? No Problem! How to Pitch and Sell Your Freelance Feature Writing (Professional Media Practice)  The Writers' & Artists' Yearbook 2015 (Writers' and Artists')  Crofts, A. 2007. The Freelance Writer's Handbook: How to turn your writing skills into a successful business  Dodd, M and Hanna, M. 2014 McNae's Essential Law for Journalists  Tyson, E. 2014. Small Business Taxes For Dummies

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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BIMM__ Global Communication

Key Information

Course: BA (Hons) in Music Journalism Module Code: TBC Module Level: 6 Module Credits: 20 Pre-requisite module or learning: None Module type: Mandatory

Teaching & Learning

Lectures: 26 x 1.5 hours Tutorials: 1 hour Personal Development Time: 161.5 hours

Module Leader & Tutors Module Leader: David Symth Tutor: David Symth

Module Summary Popular music has become the cultural lingua franca of the modern world. Most countries now have developed music markets with their own dedicated music media, channels, platforms and outlets bringing news and features to a growing global audience. In an increasingly connected world the way information is created, shared and consumed is changing. This module encourages students to develop a critical awareness of the impact of the Internet on globalization and the development of shared culture. Students will explore cultural reflexivity, territory-specific tone-of-voice, and journalism for a global audience and key contemporary theories of media, culture and society in a transnational context. The module allows students to assess the impact of economic, social and technological change on communications and journalistic practice across developed and emerging markets.

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Aims  To encourage reflexive communication practice  To develop a critical understanding of globalisation through the analysis of popular music, media and journalism  To understand the market for globally-focused music journalism, PR and communications  To increase understanding of international media practice and modes of communication including channels, institutions, entities, outlets and brands  To understand the development and impact of globalisation on the market for music journalism at a local, national and transnational level.

Indicative Study Topics  Globalisation and the media  Writing for a global audience  Global media practice  Society and shared cultures  Globalisation and the Internet  New technologies and the rise of the global niche audience  Socio-economic and socio-cultural models of globalisation  Ethics in the global environment  Media, marketing, lifestyle and popular music  Tone-of-voice and global English for reflexive communicators  Semiotics and the media  Editing skills  Cultural heterogeneity and homogeneity in a connected world

Teaching & Learning Methods Teaching and learning is delivered via lectures, audio and video content, internet resources, discussions and debates, in-class presentations, group discussions, coursework, guest lecturers, in-class exercises, e-learning facilitated by the BIMM VLE (Moodle) and independent study and research.

Formative Assessment Formative assessment includes tutorial, peer learner, tutor feedback and email feedback on developing portfolios and draft critical commentaries and Q&A and discussion sessions in class.

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Learning Outcomes On completion of this module a successful student will be able to:

1. Define globalisation with reference to the media, communications and popular music 2. Explain cultural reflexivity and the global voice 3. Demonstrate effective application of a transnational and regional tonality 4. Recognise and evaluate current developments in global communication practice

Assessment

No Summative Length Learning Assessmen Formative/ Assessmen Assessment Outcomes t Weighting Summative t Week Methods Addressed

1 Digital 5000 1,2,3,4 100% Summative W27 portfolio words and critical commentary

Assignment Brief Project Proposal Students are required to produce a portfolio of journalistic work for a transnational audience. The portfolio should include 2 pieces of written journalism (500 words) and 1 edited broadcast piece of no more than 5 minutes. Titles and outlines for these pieces must be negotiated with the module tutor.

Students should also include a 4000 word critical commentary exploring the rationale behind their work. Areas to consider include content, style, messaging, tone, culture and semiology. It should also demonstrate a clear engagement with the principles of globalisation, communication theory, current technologies, presentation and practice along with a detailed evaluation of the cultural and ideological context informing the work. Students should use academic opinion, research and theory from the forefront of the discipline to help in the development of both their work and critical commentary.

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Assessment Criteria

Outcome Students will be assessed Assessment on their ability to: method 1. Define globalisation To critically evaluate key journalistic Digital portfolio with reference to the styles, tonalities, technologies, and critical media, ethicalities and voices within the music commentary communications and media globally using contemporary popular music communication theory

2. Explain cultural Demonstrate how regional and global Digital portfolio reflexivity and the tonalities are developed and applied in and critical global voice print, online and broadcast journalism commentary

3. Demonstrate To create copy and broadcast content Digital portfolio effective application for a regional or transnational audience of a transnational and regional tonality

4. Recognise and To explore changing journalistic Digital portfolio evaluate current practice, trends and developing media and critical developments in cultures in the global information commentary global environment communication practice

Reading List

Core text  Ampuia, M (2013) Theorizing Globalisation: a Critique of the Mediatisation of Social Theory. London: Haymarket Books  De BEER, A. (Ed.) (2008) Global Journalism: Topical Issues and Media Systems, 5th Ed. London: Pearson  Campbell, V. (2014) Information Age Journalism: Journalism in an International Context New York: Bloomsbury  McPhail,T. (2013) Global Communication: Theories, Stakeholders and Trends Hoboken: John Wiley & Sons Inc

An up-to-date set of links and e-resources, including relevant journals and website links, can be found on the relevant BIMM VLE (Moodle) module site.

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