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2018/19 Undergraduate Module Catalogue

MUSS2722 Music in Context B

20 creditsClass Size: 80

Module manager: Dr James Mooney
Email: j.r.mooney@leeds.ac.uk

Taught: Semester 2 (Jan to Jun) View Timetable

Year running 2018/19

Pre-requisite qualifications

Normally MUSS1030, or A-level Music, or appropriate equivalent

Module replaces

MUSI2721 Music in Context A

This module is not approved as a discovery module

Module summary

Topic 1: The Tools of Music-Making: How do musical instruments or technologies influence musical practice? Can a particular musical instrument or technology influence the way that music is composed, performed, or listened to? How have new musical instruments or technological developments changed the course of music history? Conversely, how do musicians shape the development of musical instruments or technologies? Can the innovative ways a composer or performer uses a particular instrument have an impact on how that instrument is developed subsequently? How do composers, performers, and listeners influence the way musical instruments and technologies are designed? How do non-musicians—such as crafts-people, engineers or software developers—influence musical practice through the instruments and technologies that they design? Are musicians just uncritical ‘consumers’ of ready-made instrumental and technological ‘products’, or are they actively involved in defining those instruments and technologies? Do musicians really control the kind of music that gets made, or is this determined by the instruments and technologies available? What came first: the music, or the technology to produce it? These are the kinds of questions that we’ll consider in ‘The Tools of Music-Making’.Case studies of electronic instruments, and sound recording technologies, as well as acoustic instruments, will be used to help you understand the reciprocal relationships between technology (including ‘conventional’ instruments) and musical practice. We’ll discuss key theories and concepts that can help us to make sense of these relationships. For the assessment, you’ll do a case study of an instrument or technology of your own choice, in which you assess that instrument or technology’s impact upon musical practice, and/or investigate how that instrument or technology was developed. The module will help you to understand the relationships between music and the tools that are used to create it.Topic 2: British Music and National Identity: The nineteenth century saw a heightened awareness of national identity, and this manifested itself in the arts in a variety of ways. In music, composers sought to explore the diverse means by which national identity could be invoked, whether for purely representational reasons or to more symbolic ends. This course focuses on how national identity might be understood in relation to British music c.1870-1950, highlighting notable developments in British musical culture in this period, relating composers’ musical works to their prose writings, identifying the significance of literary figures such as A.E. Housman and Thomas Hardy, exploring political, cultural and musical agendas, and suggesting how as musicologists we might approach, understand and reinterpret a wide range of British compositions. Repertoire to be studied will include Vaughan Williams’ Fantasia on a theme of Thomas Tallis and selected symphonies, Delius’s Brigg Fair, Bax's Tintagel, Bantock’s Fifine at the Fair, along with compositions by Holst, Gurney, Butterworth, Parry, Holbrooke, Boughton and many more besides.

Objectives

On completion of this module, students should be able to:
- demonstrate the broadening of their musical knowledge through study of a defined musicological area;
- apply appropriate historical, analytical, critical and comparative methodologies to the articulation and development of arguments;
- demonstrate the development of research, essay-writing and presentational skills;
- develop an awareness of contextual approaches applicable to a broad range of repertoire.

Learning outcomes
On completion of this module, students should be able to:
- demonstrate the broadening of their musical knowledge through study of a defined musicological area;
- apply appropriate historical, analytical, critical and comparative methodologies to the articulation and development of arguments;
- demonstrate the development of research, and essay-writing skills;
- develop an awareness of contextual approaches applicable to a broad range of repertoire


Syllabus

Students will study one topic chosen from a range available. Topics offered will cover a spectrum of musicological areas in different musical disciplines and contexts, including art, commercial, popular and world musics. The module may be taught via a combination of lectures, seminars and tutorials. Plenary lectures and associated seminars will support students in developing their skills in the literature review and essay writing. At least one class will be given over to individual tutorials.

Teaching methods

Delivery typeNumberLength hoursStudent hours
Lectures31.003.00
Lecture72.0014.00
Seminar21.001.00
Tutorial10.250.25
Private study hours181.75
Total Contact hours18.25
Total hours (100hr per 10 credits)200.00

Private study

4 hours evaluation of notes per topic lecture: 28 hours;
6 hours reading and listening per topic lecture or seminar: 54 hours;
Essay writing: 74 hours;
Plenary lectures and Seminar preparation: 26 hours.


Opportunities for Formative Feedback

- Contribution to round table discussion in seminars, and feedback.
- Tutorials.

Methods of assessment


Coursework
Assessment typeNotes% of formal assessment
Essay4800-5200 words. (This element must be passed)75.00
Literature Review800 - 1000 words.25.00
Total percentage (Assessment Coursework)100.00

Normally resits will be assessed by the same methodology as the first attempt, unless otherwise stated

Reading list

The reading list is available from the Library website

Last updated: 21/09/2018

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