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UNIVERSITY of SUNDERLAND
FACULTY of ARTS AND DESIGNMUS 309
MEANING IN MUSIC
MODULE GUIDE 2010/11
MODULE LEADER: John Kefala-Kerr
TITLE: MEANING IN MUSICCODE: MUS
CREDITS: 20
LEVEL: 3
FACULTY: Arts, Design & Media
MODULE BOARD: Performing Arts
PRE-REQUISITES:
CO-REQUISITES:
LEARNING HOURS: 200
LEARNING OUTCOMES
Upon successful completion of this module, students will have demonstrated
Knowledge
1. an understanding of how meaning in music is manifested, constructed, apprehended and interpreted.
Skills
2. the ability to deploy a range of critical, analytical and musicological strategies.
3. the ability to analyse a musical artifact, extract, performance or event.
CONTENT SYNOPSIS
Through a series of directed study tasks, close-reading activities and other analytical strategies, students will consider the ways in which music ‘means’—how artefacts, performances, styles, genres, artists and trends etc. are encountered, represented and interpreted in the contemporary musical and musicological landscape.
TEACHING AND LEARNING METHODS:
The learning on this module will be through a series of lectures and seminars covering a variety of approaches to music analysis. A detailed consideration of a range of accounts from the literature (eg. feminist, cultural, formalist) will underpin a series of micro-writing assignments that seek to illuminate the various languages, rhetorics and ideologies that drive contemporary music analysis and its insights.
ASSESSMENT METHODS
(Please ensure that the sequence numbering of the assessments is in the correct chronological order for the module, as this will have an implication on funding.)
Assessment 001 Oral presentation comprising an analysis of a significant musical detail, testing learning outcomes 1, 2 , 3 & 4 and comprising 30% of the overall mark.
Assessment 002 2000 word essay comprising a detailed analysis, testing learning outcomes 1, 2, 3 & 4 and contributing 70% of the overall module mark.
Sequence Assessment Type Marking Scheme Weighting
% Qualifying Mark Pass Mark
001 CW UG 30 35
002 CW UG 70 35
(If the Qualifying Mark or the Pass Mark differs from the university regulations there must be a related programme specific regulation approved.)
PROGRAMMES USING THIS MODULE AS CORE/OPTION:
(a) BA (Hons) Music
(b) BA (Hons) Performing Arts
Franchised: Yes/No No
College(s)
Work based learning: Yes/No No
Professional Accreditation: Yes/ No No
(If yes, who with and what conditions if any are specific to the module?)
MODULE LEADER
John Kefala-Kerr ext. 3180 Priestman Building C9 [email protected]
LEAD DELIVERER
John Kefala-Kerr ext. 3180 Priestman Building C9 [email protected]#p#分页标题#e#
JACS Code: W350
Attendance and Participation
As with all Music/Performing Arts modules, this module requires students to attend timetabled sessions, arrive on time and participate fully in activities. This is very important because, as you would expect, there is a considerable amount of practical whole class and group work as well as discussion and peer appraisal.
Inadequate attendance or participation in timetabled and pre-arranged group sessions can constitute grounds for failure or reduced marks at the module leaders discretion.
On the rare occasion when you may need to be absent for a good reason you should contact the module leader or the School office by telephone, e-mail or in writing preferably in advance of the session.
Technical support and supporting the technician
The technician for Music is Chris Davidson, who is based in the basement of Priestman Building. If you need help, advice or technical support or to book space or equipment, you must arrange this in advance. The technician is very busy and will not always be able to help you at short notice.
It is the students’ responsibility to help ensure that equipment and working spaces are well looked after. Please support the technician by returning equipment that is borrowed and leave the rooms tidy and ready for the next group to use. Eating and drinking in the rooms is not acceptable. The central area is available for this purpose and usually there are drinks available.
Assignment 1 Oral Presentation 30%
Students are required to make an individual oral presentation on an aspect of 20th/21st century music in light of the content studied. Suitable topics might be an analysis or ‘take’ on a specific ‘piece’ of music, the work of a significant artist/composer, the transmission and reception of music, ideologies underpinning particular musical practices. The presentation should last 10 minutes and include some example(s), which demonstrably serve to enhance understanding of the topic covered.
Criteria for assessment
For assessment criteria please see table below. The following will be taken into account:
a. Knowledge of the chosen topic.
b. Depth and diversity of research material
c. Criticality
d. Skills of preparation, communication and presentation
Presentation Date: Mon 8th November 2009
Assignment 2
Essay 70%
Students are required to submit a 2000 word essay, the title of which must either be chosen from the list below or agreed with the tutor.
Criteria for assessment
For assessment criteria see table below. The following will be taken into account:
a. Deployment of argument
b. Depth and diversity of research material
c. Criticality
d. Fluency in writing style/form.
e. Discrimination in use of sources and references.
f. Degree of intimacy with the chosen topic.
Submission Date: Thurs 10th January 2010 (Murray Library)#p#分页标题#e#指导英国音乐essay
READING LIST
Brett, Philip, & Wood, Elizabeth eds., Queering the Pitch: The New Gay and Lesbian Musicology (2nd Edition), Routledge, 2006
Citron, Marcia, Gender and the Musical Canon, University of Illinois Press, 2000.
Clements, Elicia, “Transforming Musical Sounds into Words”: Narrative Method in Virginia Woolf’s The Waves”, Narrative, Vol. 13, No.2, 2005.
Cook, Nicholas. Music: A Very Short Introduction, Oxford University Press, 1998.
Cook, Nicholas, Analysing Musical Multimedia, Clarendon Press, 1998.
Hesdondhalgh, D & Negus, K. eds. Popular Music Studies, Arnold, 2002.
Jennings, David, Net, Blogs and Rock ‘n’ Roll: How Digital Discovery Works and What it Means for Consumers, Creators and Culture, Nicholas Brealey Publishing, 2007.
Kahn, Douglas. Noise Water Meat: A History of Sound in the Arts, MIT Press, 1999.
Keil, Charles & Feld, Steven, Music Grooves: Essays and Dialogues, University of Chicago Press, 2005.
Lanza, Joseph. Elevator Music: A Surreal History of Muzak, Easy Listening and other Moodsong, Quartet Books 1995.
Longhurst, Brian, Popular Music & Society, Polity Press, 2007. (Chapter 5)
Maclaverty, Bernard, Grace Notes, Vintage, 1998.
Marchetti, Lionel, “Cries and Silence”, Writing Aloud: The Sonics of Language, Brandon Labelle & Christof Migone eds. Errant Bodies Press, 2001.
Middleton, Richard. Studying Popular Music, Open University, 1990.
Middleton, Richard (ed), Reading Pop: Approaches to Textual Analysis in Popular Music, OUP, 2000.
Scher, Steven Paul, Music and Text: Critical Enquiries, Cambridge University Press, 1992.
Thorn, Richard, “Hearing is Believing – The Evidence”, Sound Journal, www.kent.ac.uk/sdfva/sound-journal/thorn981.html
Toop, David, Haunted Weather: Music, Silence and Memory, Serpent’s Tail, 2004.
Walser, Robert, Running with the Devil: Power, Gender and Madness in Heavy Metal, Wesleyan University Press/University Press of New England, 1993
Whitely, Sheila, The Space Between the Notes: Rock and the Counter Culture, Routledge, 1992.
Whitely, Sheila, Women and Popular Music: Sexuality, Identity and Subjectivity, Routledge, 2000.
Woolf, Virginia, “The String Quartet” in Selected Short Stories, Penguin Classics, 2000.
Suggested Essay Questions
N.B. In all cases you should address (as appropriate) musical, visual and performative elements.
1. Consider the signifiers that contribute to the self-presentation of a 20th/21st Century musician, performer or band of your choosing.
2. Discuss the extent to which sexual orientation and/or gender might be determining factors in the reading of musical meaning.
3. With reference to a music track of your choosing, consider the ways in which the music simulates/replicates/narrates the experience of drug usage.#p#分页标题#e#英国essay指导
4. With reference to the various elements that make up the genre, discuss the ways in which Heavy Metal communicates its meanings.
5. With reference to one or more examples. Show how humour is constructed/mediated or otherwise manifested in music.
6. Musicians have often drawn on the exotic ‘other’. Using examples from a variety of musical styles/genres give an account of the varying ways in which ethnic or cultural ‘otherness’ has been represented/portrayed.
7. With reference to one or more film extracts/scenes show how music contributes meaningfully to a given narrative ingredient or element.
Generic Assessment Criteria – Undergraduate – Performing Arts
Categories
Relevance Knowledge Analysis, Problem solving and/or Collaboration Argument and Structure and/or Artistic coherence Critical evaluation and Creativity
Presentation/
Execution of performance and/or production duties, Reference to Literature
Demonstrate ability to focus on a designated topic or topics in practical and/or written work Demonstrate a critical perspective on performance theories and practices and the ability to contextualise performance work in relation to this
Demonstrate an ability to analyse topics, problem solve, and/or employ effective group skills Demonstrate coherence and clarity in your critical perspective argument, ideas and/or performance work Demonstrate the ability to critically evaluate materials and/or generate creative ideas. Demonstrate appropriate skills in writing, communication, performance and/or production Demonstrate awareness of relevant research materials and reference points for your work in performance, literature and/or performance criticism
These should be interpreted according to the level at which you are working and related to the Learning Outcomes for the module
Pass 86 – 100% The work examined is exemplary and provides clear evidence of a complete grasp of the knowledge, understanding and skills appropriate to the Level of the qualification. There is also ample excellent evidence showing that all the learning outcomes and responsibilities appropriate to that Level are fully satisfied. At this level it is expected that the work will be exemplary in all the categories cited above. It will demonstrate particularly compelling evaluation, originality, creativity, elegance of argument/performance, interpretation or discourse.
76-85% The work examined is outstanding and demonstrates comprehensive knowledge, understanding and skills appropriate to the Level of the qualification. There is also excellent evidence showing that all the learning outcomes and responsibilities appropriate to that level are fully satisfied. At this level it is expected that the work will be outstanding in the majority of the categories cited above or by demonstrating particularly compelling evaluation, creativity, elegance of argument/performance, interpretation or discourse.
70 – 75% The work examined is excellent and provides evidence of comprehensive knowledge, understanding and skills appropriate to the Level of the qualification. There is also excellent evidence showing that all the learning outcomes and responsibilities appropriate to that level are satisfied At this level it is expected that the work will be excellent in the majority of the categories cited above or by demonstrating particularly compelling evaluation, creativity, elegance of argument/performance, interpretation or discourse.#p#分页标题#e#英国艺术类作业
60 – 69% Directly relevant to the requirements of the assessment A substantial knowledge of relevant material, showing a clear grasp of themes, questions and issues therein Good analysis, identification and resolution of issues or problems. Effective organisation, and/or negotiation/collaboration Generally coherent and logically structured, using an appropriate mode of argument, or performance, production and/or theoretical modes May contain some distinctive, creative or independent thinking; may begin to formulate an independent position in response to theory and/or practice. Well written, with standard spelling and grammar, in a readable style with acceptable format.
Or
Effectively presented with intelligent performance and production decisions in evidence Critical appraisal of up-to-date and/or appropriate literature. Recognition of different perspectives. Very good use of source material. Uses a range of sources
50 – 59% Some attempt to address the requirements of the assessment. May lose focus occasionally Adequate knowledge of a fair range of relevant material, with intermittent evidence of an appreciation of its significance Some analysis, identification and resolution of issues or problems. Occasionally effective organisation, and/or negotiation/collaboration Some attempt to construct a coherent argument performance or production strategy, but may suffer loss of coherence and consistency, with issues at stake presented only vaguely, or theoretical mode(s) and performance ideas couched in simplistic terms Sound work which expresses a coherent position only in broad terms and in uncritical conformity to one or more standard views of the topic, and/or approaches to performance Competently written, with only minor lapses from standard grammar, with acceptable format.
Or
Competently presented with informed performance and production decisions in evidence Uses a variety of literature which includes some recent texts and/or appropriate literature, though not necessarily including a substantive amount beyond library texts. Competent use of source material.
40 – 49% Some correlation with the requirements of the assessment but there is a significant degree of irrelevance Basic understanding of the subject but addressing a limited range of material Little evidence of analysis, identification and resolution of issues or problems. Little evidence of effective organisation, and/or negotiation/collaboration A basic argument, performance or production strategy is evident, but this is mainly supported by assertion, and/or obvious/simplistic choices. There may also be a lack of clarity and coherence Some evidence of a critical perspective but mainly derivative, and/or with an un-interrogated performance strategy employed A simple basic style but with significant deficiencies in expression or format that may pose obstacles for the reader
Or
Employment of a simplistic/basic performance and production strategy with significant deficiencies in expression or format Some up-to-date and/or appropriate literature used. Goes beyond the material tutor has provided. Limited use of sources to support a point. Weak use of source material.#p#分页标题#e#英国留学生艺术类专业
Fail 35 – 39% Relevance to the requirements of the assessment may be very intermittent, and may be reduced to its vaguest and least challenging terms A limited understanding of a narrow range of material Heavy dependence on description, Lacking analysis, identification and resolution of issues or problems. Lacking evidence of effective organisation, and/or negotiation/collaboration Little evidence of coherent argument, performance or production strategy: The work lacks development and may be repetitive or thin Almost wholly derivative: the writer’s contribution rarely goes beyond simplifying paraphrase Numerous deficiencies in expression and presentation. The writer/performer achieves clarity (if at all) only by using a simplistic or repetitious style/approach Barely adequate use of literature. Over reliance on
material provided by the tutor.
The evidence provided shows that the majority of the learning outcomes and responsibilities appropriate to that Level are satisfied.
30 – 34%
The work examined provides insufficient evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence provided shows that some of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in some of the indicators.
15-29% The work examined is unacceptable and provides little evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence shows that few of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in several of the indicators.
0-14% The work examined is unacceptable and provides almost no evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence fails to show that any of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in the majority or all of the indicators.
LEASE NOTE THE FOLLOWING:
Work submitted is expected to be the student’s own work. To view the University’s guidance and policy on plagiarism please see:12+Policy+Statement+on+Plagiarism.pdf
From the outset of your studies it is vital that you understand the concept of academic integrity and that you are confident in avoiding plagiarism and collusion. By doing this you will give due credit to the authors whose work you have used and enable others to trace your sources. The JISC Plagiarism Advisory Service provides advice on avoiding plagiarism.
'Cite them Right' is an excellent guide to the Harvard and British Standard systems of bibliographical referencing and to avoiding plagiarism. It replaces the Guide to the Harvard Style of Referencing, that was formerly produced by University Library Services.
An e-version of 'Cite them Right' is available by logging into https://my.sunderland.ac.uk with your User ID and Password then clicking on 'Me' and 'Library Resources.' Academic staff can also add 'Cite them Right' to VISTA modules.
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Print copies of 'Cite them Right' are available to borrow in the library and can also be purchased from bookshops. (Cite them right : the essential guide to referencing and plagiarism / Richard Pears and Graham Shields. Newcastle upon Tyne: Pear Tree Books, 2005)
Also ensure you are up to date with copyright and intellectual property rights here:
To view the University’s Extenuating Circumstances Policy please see:
To view the University’s Academic Regulations please see:
To view the University Student Handbook and the Faculty Information page please see:
Feedback on this module is gathered during weeks 14 and 15. This is done via a questionnaire.
Changes to this module have been made as a result of previous feedback. These changes include (i) change of title (ii) change of assessment modes.
The Module Guide and various files relating to module content and, when applicable, refer/defer assignments are posted in the relevant area on Sunspace.
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