Music-Handbook.Pdf

MUSICK’S HAND-MAID A companion for students of Music in the University of Birmingham Edited by Paul Rodmell Published by the Department of Music, College of Arts and Law, University of Birmingham This document is published for information only and does not form part of any contract; the Department of Music and the University of Birmingham reserve the right to make alterations without notice. September 2011 www.music.bham.ac.uk 1 WHAT’S NEW OR DIFFERENT IN 2011 1. Percussion Store and Equipment (1.4.10) 2. Computing Facilities and Email (1.5.3) 3. Updated information for CEMPR (1.6) 4. Security, Equipment and Health and Safety (1.9) 5. Lateness, Absence and Illness (2.1.5) 6. Submitting Work (2.1.7) 7. Extensions, deferrals and ‗fit to sit‘ (2.1.8) 8. Academic Feedback (2.1.12) 9. Student Representation (2.1.19) 10. International and Exchange Students (2.2.5) 11. Harassment and Bullying (2.2.9) 12. Data Protection and Access (2.2.10) 13. Extenuating Circumstances (3.4.6) 14. Careers Centre (4.1) 15. Plagiairism (6.1.4) 16. Guidance for Timed Essays (6.1.6) 2 CONTENTS WHAT’S NEW OR DIFFERENT IN 2011 2 AIMS AND OBJECTIVES OF THE DEPARTMENT OF MUSIC 8 SECTION 1 - THE DEPARTMENT 9 1.1 Who’s Who and What They Do 9 1.1.1 Teaching Staff 9 1.1.2 Department of Music Support and Technical Staff 10 1.1.3 Barber Music Library Staff 10 1.1.4 Student Representatives 10 1.1.5 How to get in touch 10 1.1.6 Whom should I see about ...? 11 1.1.7 Students 13 1.2 Finding your way around 13 1.2.1 Barber Institute of Fine Arts 14 1.2.2 Arts Building 14 1.2.3 Bramall Music Building 14 1.3 Administrative Places and Spaces 14 1.3.1 Department Office 14 1.3.2 Other Administrative Places 15 1.4 Music(al) Places and Spaces 15 1.4.1 Music Seminar Room (G37a) 15 1.4.2 Elgar Room 16 1.4.3 CEMPR Room (G19b) 16 1.4.4 Barber Concert Hall 16 1.4.5 Practice Rooms (Elgar Suite) 17 1.4.6 Practice Rooms (Barber Institute) 18 1.4.7 Electroacoustic Music facitilies 19 1.4.8 Organs 19 1.4.9 Instrument Store 19 1.4.10 Percussion Store 20 1.5 Study(ing) Places and Spaces 21 1.5.1 Barber Music Library 21 1.5.2 Main Library 21 1.5.3 Computing Facilities and Email 22 1.5.4 Centre for Modern Languages 23 1.5.5 City and Conservatoire Libraries 23 1.6 Centre for Early Music Performance and Research 23 1.6.1 Solo and Ensemble Tuition 24 1.6.2 Early Music Instruments 24 1.6.3 Concerts 24 1.6.4 Research activities 24 1.7 Centre for Composition and Associated Studies 25 1.7.1 COMPASS Forum 25 1.7.2 Compasspoint mailing list 25 3 1.7.3 Mini-BEAST 25 1.8 Other Useful Spaces and Places – and Things 25 1.8.1 Student Lockers 25 1.8.2 Instruments for Loan 26 1.8.3 Barber Art Galleries 26 1.8.4 Refreshments 26 1.9 Security, Equipment and Health & Safety 26 1.9.1 Security 26 1.9.2 Equipment 26 1.9.3 Health and Safety 27 1.9.4 Emergencies 27 1.9.5 Lost Property 27 SECTION 2 – ACADEMIC DUTIES & PASTORAL WELFARE 28 2.1 Academic Duties 28 2.1.1 Residence and Contact Details 28 2.1.2 Staying in Touch: the Student Portal 28 2.1.3 Attendance 28 2.1.4 Reasonable Diligence 29 2.1.5 Lateness and Absence 29 2.1.6 Teaching and Learning 30 2.1.7 Submitting Work 30 2.1.8 Extensions, Deferrals and ‗Fit to Sit‘ 31 2.1.9 Marking work 32 2.1.10 External Examiner 32 2.1.11 Return of Work 32 2.1.12 Academic feedback 32 2.1.13 Progress Tutorials 33 2.1.14 Changing Modules 33 2.1.15 Changing Programmes 33 2.1.16 Permanent Withdrawal 34 2.1.17 Exchange Programmes 34 2.1.18 Student Representation 34 2.1.19 Department Committee 35 2.1.20 Prizes 35 2.2 Pastoral Welfare 36 2.2.1 Advisory Tutors 36 2.2.2 Welfare Tutors 36 2.2.3 Counselling Services 36 2.2.4 Special Needs: Disability and Learning Support 36 2.2.5 International and Exchange Students 37 2.2.6 Financial Matters 38 2.2.7 Paid Employment 38 2.2.8 Equality and Diversity 38 2.2.9 Harassment and Bullying 39 2.2.10 Data Protection and Access 40 4 SECTION 3 – UNDERGRADUATE PROGRAMMES 41 3.1 1st Year Programme 41 3.1.1 Module Codes, Titles and Values 41 3.1.2 Programme Requirements 42 3.1.3 Module Descriptions 42 3.1.4 Prescribed Element 44 3.1.5 ‗Module outside the Main Discipline‘ or ‗MOMD‘ 45 3.2 2nd Year Programme 46 3.2.1 Module Codes, Titles and Values 46 3.2.2 Programme Requirements 47 3.2.3 Choosing Modules 47 3.2.4 Repeated Modules 47 3.2.5 Module Descriptions 48 3.2.6 ‗Module outside the Main Discipline‘ (MOMD) 58 3.2.7 Year Abroad (Joint Honours with a Language) 58 3.3 Final Year Programme 59 3.3.1 Module Codes, Titles and Values 59 3.3.2 Programme Requirements - Final Year 60 3.3.3 Choosing Modules 60 3.3.4 Repeated Modules 60 3.3.5 Module Descriptions 61 3.4 Programme Assessment 67 3.4.1 Marks 67 3.4.2 Criteria for assessment 67 3.4.3 Credit Requirements and Progression 78 3.4.4 Fails and Resits (Years 1 and 2) 78 3.4.5 Fails (Final Year) 79 3.4.6 Extenuating Circumstances 79 3.4.7 Contribution of work to the Final Degree Classification 80 3.4.8 Determination of the Final Degree Classification 80 3.4.9 Notification of Results 81 3.4.10 Appeals 81 SECTION 4 – AFTERWARDS . 83 4.1 Careers Centre 83 4.2 Postgraduate Study at Birmingham 84 4.2.1 Research Interests of Academic Staff at Birmingham 84 4.2.2 Finance 86 4.3 Postgraduate Study Elsewhere 87 SECTION 5 – POSTGRADUATE PROGRAMMES 88 5.1 Degree Programmes and their requirements 89 5.1.1 MMus in Composition, Musicology or Performance Practice 89 5.1.2 MPhil in Musical Composition 90 5.1.3 MPhil by Research 91 5.1.4 MPhil by Editing 91 5.1.5 MPhil in Performance Practice 91 5.1.6 PhD in Musical Composition 92 5 5.1.7 PhD by Research 92 5.1.8 PhD in Performance Practice 92 5.2 Module Descriptions 93 SECTION 6 – WRITTEN WORK & ASSESSMENTS 99 6.0.1 Independent and Enquiry-based Learning 99 6.1 Prose-based Work 100 6.1.1 Managing Your Work 100 6.1.2 General Presentation 101 6.1.3 Sources, Bibliographies and Footnotes 103 6.1.4 Plagiarism 107 6.1.5 Additional Guidelines on writing 311 and 321 Musicology Dissertations 107 6.1.6 Guidance for Timed Essays 110 6.2 Preparing orchestral scores 111 6.3. Preparing Orchestral Parts 112 6.4 Composition Workshops and the BCMG Link 114 6.5 Presenting a seminar paper 115 SECTION 7 – PERFORMANCE WORK & ASSESSMENTS 117 7.1 Solo Performance Tuition 117 7.1.1 Instrumental/Vocal Teachers 117 7.1.2 Contacting Instrumental/Vocal Teachers 117 7.1.3 Absences and Missed Lessons 117 7.1.4 Changing teacher or study 118 7.1.5 Reports 118 7.2 Solo Performance Assessments 118 7.2.1 Year 1 Solo Performance Assessments 118 7.2.2 Year 2 Solo Performance Assessments 118 7.2.3 Year 3 Solo Performance Assessments 121 7.2.4 Ensemble Performance Assessments 127 SECTION 8 –MUSIC-MAKING AND CONCERTS 128 8.1 Student music-making in the University 128 8.1.1 University Music Society 128 8.1.2 Chamber Orchestra 129 8.1.3 Birmingham University Singers (BUS) 129 8.1.4 New Music Ensemble (NME) in association with BCMG 129 8.1.5 CEMPR Ensembles 129 8.1.6 Platform 130 8.1.7 Summer Festival of Music 130 8.1.8 Guild-Based Music Societies 130 8.1.9 Student-Organized Concerts 130 8.1.10 University Concerts Co-ordinating Committee (UCCC) 131 8.1.11 Auditions and allocations to ensembles (UMS and Department) 131 8.1.12 Rehearsals and Concerts 131 8.2 Professional Concerts in the University 131 8.2.1 The Barber Institute 131 8.2.2 Barber Opera 131 8.2.3 BEAST (Birmingham ElectroAcoustic Sound Theatre) 132 6 8.2.4 Birmingham Contemporary Music Group (BCMG) 132 8.2.5 Birmingham Early Music Festival (BEMF) 132 8.2.6 Volunteering 132 8.3 Music Outside the University 132 8.3.1 Opera and Dance 133 8.3.2 Large-scale Concerts and venues 133 8.3.3 Chamber Concerts 133 8.3.4 Birmingham Conservatoire 134 8.3.5 Midlands Early Music Forum 134 8.4 Performing in Musical Events outside the University 134 QUICK INDEX 135 7 AIMS AND OBJECTIVES OF THE DEPARTMENT OF MUSIC Universities are places of learning—in the widest sense—for both staff and students. The mission of the University of Birmingham is to ‗advance learning to the highest levels attainable through research, teaching and the dissemination of knowledge for the benefit of its students and society at large‘.

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