Undergraduate Programme Specification
BA Music Performance
Academic Year 2021/22
A programme specification is required for any programme on which a student may be registered. All programmes of the University are subject to the University's Quality Assurance processes. All degrees are awarded by Queen's University Belfast.
| Programme Title | BA Music Performance | Final Award (exit route if applicable for Postgraduate Taught Programmes) |
Bachelor of Arts | |||||||||||
| Programme Code | MPF-BA-S | UCAS Code | W310 | HECoS Code |
100639 - Instrumental or vocal performa - 50 100657 - Popular music performance - 50 |
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| ATAS Clearance Required | No | |||||||||||||
| Mode of Study | Full Time | |||||||||||||
| Type of Programme | Single Honours | Length of Programme | Full Time - 3 Academic Year(s) | Total Credits for Programme | 360 | |||||||||
| Exit Awards available | ||||||||||||||
Institute Information
Teaching Institution |
Queen's University Belfast |
School/Department |
Arts, English and Languages |
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Quality Code Higher Education Credit Framework for England |
Level 6 |
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Subject Benchmark Statements The Frameworks for Higher Education Qualifications of UK Degree-Awarding Bodies |
Music (2008) |
Accreditations (PSRB) |
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Regulation Information
Does the Programme have any approved exemptions from the University General Regulations None |
Programme Specific Regulations Some flexibility for students to take modules outside of this Programme is possible and will be decided on an individual basis. When permissible the following applies: |
Students with protected characteristics N/A |
Are students subject to Fitness to Practise Regulations (Please see General Regulations) No |
Educational Aims Of Programme
Educational Aims of Programme: * In accordance with the University's Mission Statement, the new BA Music Performance, which has been designed to appeal to performers from a wide range of musical backgrounds including classical, folk, traditional, pop, rock, jazz, electronic and experimental, aspires to be a broadly-based, practice-driven programme. * Its unique educational benefits come from strong partnerships with the BBC, Ulster Orchestra, Opera NI, Hard Rain SoloistEnsemble, Cathedral Quarter Arts Festival, Moving on Music, Diatribe Records, DTS and Dolby – the Dolby Atmos immersive sound system is installed in SARC’s Sonic Lab, the only such available system in a UK HE institution. * The BA Music Performance programme will be taught, predominantly, at one of the UK’s the largest and best-equipped centres in the field of music and sound, the Sonic Arts Research Centre (SARC). * Students can expect to obtain a high standard of music/sonic arts expertise. * Through delivering dynamic world-class research, a wide education portfolio in an environment of equality, tolerance and mutual respect, the programme fully embrace its cultural and pedagogical role in Northern Ireland and beyond. * The educational aims are:
* To develop intellectual, creative, practical and technological skills in music performance
* To enrich experience of musical repertoires, their performances and their cultural contexts, while learning to evaluate primary and secondary sources and digital media resources
* To facilitate the study of music performance through a wide choice of practical modules, backed up by a selection of theoretical modules
* To learn to interpret a variety of data and information, helping students to pursue independent learning
* To deliver an innovative, broadly-based, flexible curriculum, in accordance with the QAA Benchmarks, that reflects the diverse field of scholarship and practice within the discipline
* To attract students from local, national and international contexts through various entry routes, and to provide them with the best possible learning and teaching experience
* To provide all students with the widest possible opportunity to pursue and extend their knowledge and understanding of Music Performance through a variety of learning methods
* To enable students to develop advanced critical, analytical and physical skills, as well as their creative and imaginative skills
* To improve students’ self-confidence, powers of concentration, understanding of group dynamics, and communication skills through a variety of oral, written, visual and performance media
* To introduce new areas of teaching and implement new pedagogical techniques and technologies in response to advances in scholarship technology, and educational research, student feedback, as well as the interests and aptitudes of staff members
* To enable students to collaborate in groups, giving and receiving feedback and to enable them to formulate critical arguments and viewpoints
* To provide a supportive and stimulating learning environment that enables learners with a variety of entrance qualifications to fulfil their potential and develop their capacity for motivated independent learning
* To provide appropriate learning resources, including suitable facilities for live performance and to supplement library provision by exploiting the possibilities offered by online learning
* To enrich students' learning experience by making use of interdisciplinary linkages /collaborations with subject areas within the new faculty but also with specifically selected industry partners
* To facilitate the acquisition of transferable skills in verbal and written communication, information technology, self-presentation and teamwork
* To encourage the adoption of professional standards: punctuality; reliability; commitment and self-discipline
* To embed a diverse range of generic and transferable skills in the programme, and thus prepare students for a variety of academic and professional careers
Learning Outcomes
Learning Outcomes: Cognitive SkillsOn the completion of this course successful students will be able to: |
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Engage with and evaluate a variety of sources (texts, notated scores, recorded and live performances) |
Teaching/Learning Methods and Strategies Lectures, class group-work, seminars, instrumental/vocal lessons, workshops, concert attendance; interpreting, analysing and discussing ideas generated through class discussion and group exercises Methods of Assessment Practical examinations, learning journals, class performances, concert reviews, podcasts and audio recordings |
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Understand complex issues and arguments and communicate this understanding both orally and in written form |
Teaching/Learning Methods and Strategies Lectures, class group-work, seminars, instrumental/vocal lessons, workshops; referring to current music repertoire and commenting on it both through oral and written work Methods of Assessment Learning journals, concert reviews, podcasts and audio recordings |
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Contextualise music performance and its history from a variety of perspectives and contexts |
Teaching/Learning Methods and Strategies Lectures, class group-work, seminars, instrumental/vocal lessons, workshops; forming independent views on a range of performances and styles and expressing them effectively through discussion and written work Methods of Assessment Practical examinations, learning journals, class performances, concert reviews, listening exercises, podcasts and audio recordings |
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Work independently and as part of a team demonstrated through individual and group work (practical) |
Teaching/Learning Methods and Strategies Rehearsals, class group-work, workshops; balancing and managing the demands of conflicting deadlines and various types of formative and summative assessment effectively Methods of Assessment Performances (particularly ensembles), practical class presentations, listening exercises |
Learning Outcomes: Knowledge & UnderstandingOn the completion of this course successful students will be able to: |
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Demonstrate a broad knowledge of the history of different types of music styles |
Teaching/Learning Methods and Strategies Platform classes, providing a springboard for enquiry carried out through group work, individual tutorials and feedback sessions, independent study, and concerts by visiting performers and music producers Methods of Assessment Performances, learning journals, class presentations, concert reviews |
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Understand a wide range of musical histories and of their political, aesthetic, social and cultural contexts |
Teaching/Learning Methods and Strategies Platform classes, providing a springboard for enquiry carried out through group work, individual tutorials and feedback sessions, independent study, seminars and concerts by visiting performers and music producers Methods of Assessment Performances, learning journals, class presentations and discussions, concert reviews |
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Show an awareness of particular performance styles and their performers through independent study |
Teaching/Learning Methods and Strategies Platform classes, providing a springboard for enquiry carried out through group work, individual tutorials and feedback sessions, independent study, seminars and concerts by visiting performers and music producers, attendance at and involvement in regular concert events Methods of Assessment Performances, learning journals, class presentations and discussions, concert reviews |
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Understand and apply practically the evolving vocabulary of music across a range of styles |
Teaching/Learning Methods and Strategies Platform classes, providing a springboard for enquiry carried out through group work, individual tutorials and feedback sessions, independent study, seminars and concerts by visiting performers and music producers, attendance at and involvement in regular concert events Methods of Assessment Performances, learning journals, class presentations and discussions, concert reviews |
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Apply this knowledge practically through performances |
Teaching/Learning Methods and Strategies Platform classes, providing a springboard for enquiry carried out through group work, individual tutorials and feedback sessions, independent study, concerts by visiting performers and music producers, attendance at and involvement in regular concert events Methods of Assessment Performances, class presentations and discussions |
Learning Outcomes: Subject SpecificOn the completion of this course successful students will be able to: |
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Critically evaluate a variety of differently notated, improvised and performed music styles |
Teaching/Learning Methods and Strategies Tutorials, performance classes (delivered by students and also by external industry professionals and performers), the requirement within classes to work in groups is inherent to the programme) Methods of Assessment Practical examinations, learning journals, class performances, concert reviews, listening exercises, podcasts and audio recordings |
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Demonstrate a closer connection to their instrument musically and technically. |
Teaching/Learning Methods and Strategies Individual and ensemble tutorials, performance classes Methods of Assessment Practical examinations, class performances, listening exercises, podcasts and audio recordings |
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Demonstrate a critical understanding of art-making, leading to a signature artistic identity within a well contextualised area of professional practice |
Teaching/Learning Methods and Strategies Individual and ensemble tutorials, performance classes, and independent enquiries into venues and music promoters, learning to design funding bids. Methods of Assessment Documentation of production process, final public performance/screening/exhibition, and online documentation of artistic output (e.g. Album, Film, Interactive Website) |
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Demonstrate practical experience of developing work in the professional domain, including the production and online dissemination of AV media-based works and/or artistic documentation |
Teaching/Learning Methods and Strategies Individual and ensemble tutorials, performance classes, and independent enquiries into venues and music promoters, learning to design funding bids Methods of Assessment Documentation of production process, final public performance / screening / exhibition, and online documentation of artistic output (e.g. Album, Film, Interactive Website) |
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Demonstrate improved playing style and instrumental/vocal technique |
Teaching/Learning Methods and Strategies Individual and ensemble tutorials, performance classes Methods of Assessment Practical examinations, class performances, listening exercises |
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Be more confident and creative, reducing stage fright as well as improving listening, social and ensemble skills |
Teaching/Learning Methods and Strategies Individual and ensemble tutorials, performance classes and final performances Methods of Assessment Practical examinations, class performances |
Learning Outcomes: Transferable SkillsOn the completion of this course successful students will be able to: |
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Demonstrate effective oral and written communication skills |
Teaching/Learning Methods and Strategies The delivery of verbal presentations and class feedback within small and large group contexts develops oral communication skills while written work (learning journals or concert reviews) develops well-structured and synthesised writing on a variety of performance styles Methods of Assessment Practical examinations, learning journals, class performances, concert reviews, podcasts and audio recordings |
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Show effective team-working and leadership skills |
Teaching/Learning Methods and Strategies Exercises within performance classes which exploit teamwork – reporting back on a topic within a given timeframe and adopting a position within the team that enables the group to deliver effectively generates vital team-working and leadership experience Methods of Assessment The strategy outlined here often feeds into individual methods of assessment such as learning journals. Group-work is sometimes assessed more directly, depending on the module, through class presentations and feedback contributions, or ensemble performances |
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Demonstrate efficient time management skills |
Teaching/Learning Methods and Strategies The management and prioritisation of a range of course requirements together with the ongoing discipline involved in working in isolation on continual development as a performer develops efficiency in time management. Methods of Assessment All methods of assessment have submission deadlines that require time-management skills on the part of the student. With performance modules, in particular, time-management is inherent in the learning process (e.g. attendance at rehearsals and in group performances) |
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Learn through independent study |
Teaching/Learning Methods and Strategies The process of independent learning is specifically inherent in performance related activities and is instilled from induction onwards Methods of Assessment All assessments require independent learning, particularly the practical examinations, but also learning journals, podcasts and audio recordings |
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Respond effectively and productively to constructive feedback on practical work |
Teaching/Learning Methods and Strategies The process of managing criticism and working with peer and lecturer feedback to improve work is encouraged throughout the programme Methods of Assessment Feedback on group-work and on individual and ensemble performance that respond to feedback during performance classes |
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Think and work creatively within a variety of contexts |
Teaching/Learning Methods and Strategies Creative thinking is inherent in the nature of the programme. The variety of performance contexts means that it takes different forms in teaching (individual and group tuition, lectures, group-work, performance classes, and learning strategies, both verbal and – in performance - non-verbal Methods of Assessment Performances, class presentations (e.g. answering questions and giving peer feedback) |
Module Information
Stages and Modules
| Module Title | Module Code | Level/ stage | Credits | Availability |
Duration | Pre-requisite | Assessment |
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|---|---|---|---|---|---|---|---|---|---|---|---|---|
| S1 | S2 | Core | Option | Coursework % | Practical % | Examination % | ||||||
| Fundamental Harmony | MUS1013 | 1 | 20 | YES | YES | 24 weeks | Y | YES | 60% | 0% | 40% | |
| Introduction to Film Studies 1 | FLM1001 | 1 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Composition 1a (Acoustic Composition) | MUS1011 | 1 | 20 | YES | 12 weeks | Y | YES | 65% | 0% | 35% | ||
| Music in History | MUS1041 | 1 | 20 | YES | YES | 24 weeks | Y | YES | 100% | 0% | 0% | |
| Being Creative: Music Media and the Arts | ESA1001 | 1 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Fundamentals of Sound | MUS1010 | 1 | 20 | YES | YES | 24 weeks | N | YES | 50% | 0% | 50% | |
| Introduction to Music | MUS1002 | 1 | 20 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Audio Mixing I | MUS1030 | 1 | 20 | YES | 12 weeks | Y | YES | 70% | 30% | 0% | ||
| Composition 1b (Sonic Arts) | MUS1012 | 1 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Introduction to Composition | MUS1005 | 1 | 20 | YES | 12 weeks | N | YES | 50% | 50% | 0% | ||
| Scoring and Arranging | MUS2053 | 1 | 20 | YES | 12 weeks | N | YES | 80% | 0% | 20% | ||
| Songwriting | MUS2055 | 1 | 20 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Sound Recording and Production 1 | MUS1038 | 1 | 20 | YES | 12 weeks | N | YES | 60% | 40% | 0% | ||
| Double Performance 1 | MUS1019 | 1 | 40 | YES | YES | 24 weeks | N | YES | 20% | 80% | 0% | |
| Sonic Arts | MUS2004 | 2 | 20 | YES | 12 weeks | Y | YES | 80% | 20% | 0% | ||
| Fame | MUS2043 | 2 | 20 | YES | 12 weeks | N | YES | 70% | 30% | 0% | ||
| Classical Analysis | MUS2015 | 2 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Interactive Sensing Systems | MUS2013 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Composition II | MUS2011 | 2 | 20 | YES | YES | 24 weeks | Y | YES | 100% | 0% | 0% | |
| Notation and Transcription | MUS2066 | 2 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Improvisation | MUS2050 | 2 | 20 | YES | 12 weeks | N | YES | 30% | 70% | 0% | ||
| Experimental Popular Musics | MUS2033 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Interactive Media and Future Broadcasting | BCP2005 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Radio and Podcast Production | BCP2002 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Instrument and Installation Design | MUS2034 | 2 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Sound Recording and Production 2 | MUS2038 | 2 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Live Production Systems | MUS2048 | 2 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Radical Musics: Understanding Sounds of Defiance across Disciplines | HAP2000 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Sound Design for Screen | MUS2036 | 2 | 20 | YES | 12 weeks | Y | YES | 70% | 30% | 0% | ||
| Music Psychology | MUS2052 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Double Performance 2 | MUS2019 | 2 | 40 | YES | YES | 24 weeks | N | YES | 30% | 70% | 0% | |
| Gender, Culture, and Representation – Backwards & in Heels | AEL2001 | 2 | 20 | YES | 12 weeks | N | YES | 60% | 40% | 0% | ||
| Adaptation as Interdisciplinary Practice | AEL2002 | 2 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Composition 3a | MUS3011 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Double Performance 3 | MUS3082 | 3 | 40 | YES | YES | 24 weeks | N | YES | 20% | 80% | 0% | |
| Dissertation | MUS3084 | 3 | 40 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Special Project | MUS3076 | 3 | 20 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Composition 3b | MUS3012 | 3 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Sound Recording and Production 3 | MUS3038 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| The Politics of Performance: From Negotiation to Display | ESA3002 | 3 | 20 | YES | 12 weeks | N | YES | 90% | 10% | 0% | ||
| Traditional Irish Music: Form, Style and Development | MUS3069 | 3 | 20 | YES | 12 weeks | N | YES | 40% | 10% | 50% | ||
| Auditory Perception | MUS3010 | 3 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| MUSICS ON THE ISLAND OF IRELAND: PRACTICE, POWER AND IDENTITY | ESA3012 | 3 | 20 | YES | 12 weeks | N | YES | 40% | 0% | 60% | ||
| Politics in Popular Song from the French Revolution to Punk | MUS3055 | 3 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Work-based Learning | AEL3001 | 3 | 20 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Immersive Media | MUS3007 | 3 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
| Audio Post Production | MUS3009 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Composing for Screen | MUS3014 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Orchestration | MUS3020 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Sonic Arts 2 | MUS3003 | 3 | 20 | YES | 12 weeks | Y | YES | 100% | 0% | 0% | ||
| Professional Practice | MUS3004 | 3 | 20 | YES | YES | 24 weeks | N | YES | 100% | 0% | 0% | |
| Music and Medicine | MUS3008 | 3 | 20 | YES | 12 weeks | N | YES | 100% | 0% | 0% | ||
Notes
Stage 1 Students must take 120 CATS. Necessary pre-requisites: MUS1011 - pre-requisite is GCSE Music or Grade 6 Theory MUS1013 - pre-requisite is entrance test MUS1030 Audio Mixing - pre-requisite is MUS1036 MUS1041 - pre-requisite is GCSE Music or Grade 6 Theory
Stage 2 Students must take 120 CATS points. Students are not permitted to take any more than 2 non-MUS modules. Necessary pre-requisites: MUS2004 - pre-requisite is MUS1012 or MUS2036 MUS2011 - pre-requisite is MUS1011 MUS2015 - pre-requisite is MUS1013 MUS2034 - pre-requisite is MUS2013 MUS2036 - pre-requisite is MUS1038 MUS2038 - pre-requisite is MUS1030 Audio Mixing MUS2048 - pre-requisite is MUS1030 Audio Mixing MUS2066 - pre-requisite is Pre-Requisites: A-Level Music Grade C or Grade 8 Theory
Stage 3 Students must take 120 CATS points. Necessary pre requisites: MUS3003 - pre-requisite is MUS2004 MUS3009 - pre-requisite is MUS2036 MUS3011 - pre-requisite is 58% or above in MUS2011 MUS3012 - pre-requisite is 58% or above in MUS3011 MUS3014 - pre-requisite is MUS2004 or MUS2011 MUS3020 - pre-requisite is MUS2053 MUS3038 - pre-requisite is MUS2038 MUS3076 pre-requisite: 55% average in MUS2043. Proposal by Induction Week MUS3084 pre-requisite: Normally 62% average in MUS2043. Proposal by Induction Week