Modules for course RW13 | BA/MUFR
BA Music/French

These were the modules for this course in the 2017–18 academic year.

You can also view the modules offered in the years: 2018–19; 2019–20.

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Year 1 Modules

Compulsory Modules

Semester 1

  • WXM-1002: The Study of Music (jt-hnrs) (20)
    The module surveys the history of Western art music from around 1000 AD to the present day. Selected works from the period will be studied in detail, and changes and developments in musical style will be set in their historical, cultural, social, geographical and aesthetic contexts. Furthermore, the module will encourage the development of a range of skills required for the study of music at degree level, and will form the foundation for musicological study carried out in Years 2 and 3 and beyond.
    or
    WXC-1002: Astudio Cerddoriaeth (JH) (20)
    Mae’r modiwl yn edrych ar hanes cerddoriaeth gelfyddydol Orllewinol o tua 1000 AD i'r cyfnod presennol. Astudir gweithiau dethol o’r cyfnod yn fanwl, a gosodir newidiadau a datblygiadau mewn arddull gerddorol yn eu cyd-destunau hanesyddol, diwylliannol, cymdeithasol, daearyddol ac esthetaidd. Yn ogystal, bydd y modiwl yn annog datblygiad amrywiaeth o sgiliau sydd eu hangen i astudio cerddoriaeth ar lefel gradd, a bydd yn sylfaen ar gyfer astudiaeth gerddolegol a wneir ym Mlynyddoedd 2 a 3 a thu hwnt.

Semester 2

  • WXM-1002: The Study of Music (jt-hnrs)
    The module surveys the history of Western art music from around 1000 AD to the present day. Selected works from the period will be studied in detail, and changes and developments in musical style will be set in their historical, cultural, social, geographical and aesthetic contexts. Furthermore, the module will encourage the development of a range of skills required for the study of music at degree level, and will form the foundation for musicological study carried out in Years 2 and 3 and beyond.
    or
    WXC-1002: Astudio Cerddoriaeth (JH)
    Mae’r modiwl yn edrych ar hanes cerddoriaeth gelfyddydol Orllewinol o tua 1000 AD i'r cyfnod presennol. Astudir gweithiau dethol o’r cyfnod yn fanwl, a gosodir newidiadau a datblygiadau mewn arddull gerddorol yn eu cyd-destunau hanesyddol, diwylliannol, cymdeithasol, daearyddol ac esthetaidd. Yn ogystal, bydd y modiwl yn annog datblygiad amrywiaeth o sgiliau sydd eu hangen i astudio cerddoriaeth ar lefel gradd, a bydd yn sylfaen ar gyfer astudiaeth gerddolegol a wneir ym Mlynyddoedd 2 a 3 a thu hwnt.

40 credits from:

  • LZF-1001: Advanced French 1 (20) (Semester 1 + 2) Core
    This module has been designed in order to enable post 'A' level students to develop written communicative skills in French by extending linguistic competence acquired at 'A' level. It comprises a text-based class in which students have the opportunity to develop translation skills and paraphrasing techniques. Students also have the opportunity to revise and consolidate key areas of grammar in a second class which constitutes the grammatical spine of the module. The texts used in this module are chosen from a range of sources including the media and literary works in order to familiarise students with variations in tone and register. A thematic approach is used in the text-based class in order to enable students to gain an insight into particular French themes and issues while developing the various written communicative skills outlined. Key texts We use the following as a course book: Simone Renaud and Dominique van Hooff. En Bonne Forme (8th edition) (New York: John Wiley and Sons, 2008) We also recommend the students purchase the following: - A large bilingual dictionary, such as the latest edition of the Collins-Robert or the Oxford-Hachette. - A large monolingual dictionary, such as the latest edition of Le Petit Robert. - A detailed French grammar reference book to complement the course book. We recommend the latest edition of Hawkins and Towell’s French Grammar and Usage or Glanville Price’s A Comprehensive French Grammar. Although it is somewhat briefer than the two previous books, we also suggest that Ferrat’s A French Reference Grammar is suitable for first year purposes.”
    or
    LCF-1001: Sgiliau Iaith Ffrangeg (20) (Semester 1 + 2) Core
    Yn yr wythnosau cyntaf, byddwn yn cadarnhau 'blociau adeiladu' yr iaith ysgrifenedig (rhannau ymadrodd, cenedl enwau, cytundeb gramadegol ayyb), yn ogystal â chyflwyno'r prif werslyfr. Wedyn, bydd y dosbarthiadau'n cael eu rhannu rhwng cyflwyno iaith o "En bonne forme", darllen a thrafod testunau mewn Ffrangeg, ac adborth ar yr aseiniadau hynny y rhoddir marc iddynt. Byddwch yn cael rhaglen o flaen llaw sy'n nodi'r gwaith darllen a'r aseiniadau sydd i'w gwneud yn yr wythnosau i ddod. Trwy'r flwyddyn bydd cyfres o ymarferion i'w gwneud ar gyfrifiadur yn y Ganolfan Ieithoedd; dylai hynny olygu rhyw awr o waith yr wythnos. Key texts We use the following as a course book: Simone Renaud and Dominique van Hooff. En Bonne Forme (8th edition) (New York: John Wiley and Sons, 2008) We also recommend the students purchase the following: - A large bilingual dictionary, such as the latest edition of the Collins-Robert or the Oxford-Hachette. - A large monolingual dictionary, such as the latest edition of Le Petit Robert. - A detailed French grammar reference book to complement the course book. We recommend the latest edition of Hawkins and Towell’s French Grammar and Usage or Glanville Price’s A Comprehensive French Grammar. Although it is somewhat briefer than the two previous books, we also suggest that Ferrat’s A French Reference Grammar is suitable for first year purposes. Any other learning resources Students are required to complete grammar exercises on a programme called Lingu.
  • LZF-1002: French Communication Skills (20) (Semester 1 + 2) Core
    This topic-based module complements LZF1001 by developing proficiency in spoken French acquired at 'A' level. A range of audio and visual aids is used in each class in order to stimulate group discussions, debates and individual presentations on a particular theme. Aural skills are also developed through audio and video comprehension exercises. The purpose of this module is to enable students to defend themselves orally in a range of topics relating to contemporary French and Francophone life and society and to improve comprehension of different French accents. Key texts This module involves oral comprehension classes and conversation classes. At the start of each semester, students are given a course booklet containing the questions for the listening comprehension exercises, general module information, and lists of websites that they can use in order to watch French television and listen to French radio. We also recommend the students purchase the following: - A large bilingual dictionary, such as the latest edition of the Collins-Robert or the Oxford-Hachette. - A large monolingual dictionary, such as the latest edition of Le Petit Robert. - A detailed French grammar reference book to complement the course book. We recommend the latest edition of Hawkins and Towell’s French Grammar and Usage or Glanville Price’s A Comprehensive French Grammar. Although it is somewhat briefer than the two previous books, we also suggest that Ferrat’s A French Reference Grammar is suitable for first year purposes. Webpages: Students are expected to be regularly keeping up-to-date with new stories in France via websites such as the following: www.lemonde.fr www.liberation.fr www.figaro.fr French television news programmes - Daily 8am, 1pm and 8pm national news bulletins from France 2: http://jt.france2.fr - Regional and local news bulletins from France 3 (also available as podcasts): http://jt.france3.fr/ - International news bulletins and short docu-films from TV5: www.tv5.org - iTélé: http://www.itele.fr/ - BFM TV : http://www.bfmtv.fr/ French radio stations - Europe 1 (news and discussion): http://www.europe1.fr/ - France Info (news): http://www.radiofrance.fr/chaines/france-info/accueil/ - France Inter (news): http://www.radiofrance.fr/franceinter/accueil/ - France Culture (news and culture, bit like BBC Radio 4): http://www.radiofrance.fr/chaines/france-culture2/sommaire/ - Radio France Internationale (international news): http://www.rfi.fr/
    or
    LCF-1002: Sgiliau Cyfathrebu Ffrangeg (20) (Semester 1 + 2) Core
    Mae'r modiwl hwn yn mynd law yn llaw â LCF1001, ac mae'n canolbwyntio ar sgiliau llafar a gwrando'r myfyrwyr. Yn ogystal â dosbarthiadau sgwrsio traddodiadol a gwaith yn seiliedig ar arddweud, mae pytiau o deledu Ffrangeg yn cyflwyno'r myfyrwyr i Ffrangeg fel y caiff ei siarad go iawn heddiw gan siaradwyr brodorol o amrywiaeth o gefndiroedd. Bydd gwaith yn y Ganolfan Ieithoedd yn golygu gwrando ar ffeiliau sain a recordio eu hunain ar gyfrifiadur, a hynny dan arolygiaeth y staff er mwyn gallu rhoi adborth unigol. Nod y modiwlau iaith yw cael y myfyrwyr i gael meistrolaeth gadarn o ramadeg, a gallu defnyddio'r Ffrangeg ar lafar ac yn ysgrifenedig, gan ddod yn fwy medrus a hyderus wrth siarad ac ysgrifennu. Key texts This module involves oral comprehension classes and conversation classes. At the start of each semester, students are given a course booklet containing the questions for the listening comprehension exercises, general module information, and lists of websites that they can use in order to watch French television and listen to French radio. We also recommend the students purchase the following: - A large bilingual dictionary, such as the latest edition of the Collins-Robert or the Oxford-Hachette. - A large monolingual dictionary, such as the latest edition of Le Petit Robert. - A detailed French grammar reference book to complement the course book. We recommend the latest edition of Hawkins and Towell’s French Grammar and Usage or Glanville Price’s A Comprehensive French Grammar. Although it is somewhat briefer than the two previous books, we also suggest that Ferrat’s A French Reference Grammar is suitable for first year purposes.
  • LZF-1003: French for Beginners I (20) (Semester 1) Core
    The module is devised to suit 'ab initio' and post-GCSE students of French and focuses on the development of basic oral, aural and written communicative skills. The module involves an introduction to and [in the case of those with GCSE knowledge of the language] a revision of key areas of grammar (present and past tenses, the future and conditional tenses, nouns, adjectives, prepositions). Students will acquire general vocabulary and key expressions relating to self, family, daily routine, hobbies, likes and dislikes, in part through role-play situations. Using appropriate audio/visual aids, students will also be introduced to modern and contemporary French culture and society. Key texts: Action Grammaire! 3rd edition by Phil Turk & Geneviève García Vandaele (Hodder Education, 2006). The French Experience 1 Marie Therese Bougard, Daniele Bourdais (BBC Publications, 2003) Students are given the following advice about purchasing a dictionary: “You may be able to manage with a concise one (not a pocket dictionary), but you should consider a ‘proper’ translating dictionary such as the Collins-Robert or Oxford-Hachette, and learn to use it effectively and regularly.”
    or
    LCF-1003: Ffrangeg i Ddechreuwyr I (20) (Semester 1) Core
    Mae'r modiwl hwn yn addas ar gyfer dechreuwyr a myfyrwyr sydd wedi astudio Ffrangeg at TGAU. Mae'n canolbwyntio ar ddatblygu sgiliau llafar, gwrando ac ysgrifennu. Mae'r modiwl yn cynnwys cyflwyniad ac adolygu (yn achos rhai sydd eisoes wedi gwneud TGAU) y rhannau allweddol o ramadeg (yr amser presennol a'r gorffennol, y dyfodol a'r amodol, enwau, ansoddeiriau, arddodiaid). Bydd y myfyrwyr yn dysgu geirfa gyffredinol a'r ymadroddion allweddol sy'n ymwneud â'r hunan, y teulu, gweithgareddau bob-dydd, diddordebau, yr hyn maent yn ei hoffi/gasáu, a hynny yn rhannol trwy sefyllfaoedd chwarae rôl. Gan ddefnyddio'r cymhorthion sain/gweledol priodol, bydd y myfyrwyr yn cael eu cyflwyno i'r diwylliant a'r gymdeithas Ffrengig heddiw. Key texts The following textbooks are used: Action Grammaire! 3rd edition by Phil Turk & Geneviève García Vandaele (Hodder Education, 2006). The French Experience 1 Marie Therese Bougard, Daniele Bourdais (BBC Publications, 2003) Students are given the following advice about purchasing a dictionary: “You may be able to manage with a concise one (not a pocket dictionary), but you should consider a ‘proper’ translating dictionary such as the Collins-Robert or Oxford-Hachette, and learn to use it effectively and regularly.”
  • LZF-1004: French for Beginners II (20) (Semester 2) Core
    This module is aimed at all first year students who have completed French for Beginners 1. The module aims to develop the basic oral, aural and written communicative skills acquired in semester 1 in order to bring students up to and beyond a level of proficiency equivalent to 'A' level. Students apply the grammatical principles learned in semester 1 to extended pieces of writing and also focus on more complex grammatical structures. Aural communicative skills are developed through audio and video tape comprehension exercises and students are required to make individual presentations on more sophisticated topics. Key texts: Action Grammaire! 3rd edition by Phil Turk & Geneviève García Vandaele (Hodder Education, 2006). The French Experience 1 Marie Therese Bougard, Daniele Bourdais (BBC Publications, 2003) Students are given the following advice about purchasing a dictionary: “You may be able to manage with a concise one (not a pocket dictionary), but you should consider a ‘proper’ translating dictionary such as the Collins-Robert or Oxford-Hachette, and learn to use it effectively and regularly.”
    or
    LCF-1004: Ffrangeg i Ddechreuwyr II (20) (Semester 2) Core
    Bydd y modiwl hwn, a gynhelir yn yr ail semester, yn cynnwys pedair awr o oriau cyswllt yr wythnos. Mae wedi ei anelu at fyfyrwyr yn y flwyddyn gyntaf sydd wedi cwblhau Ffrangeg i Ddechreuwyr 1 a Myfyrwyr Canolradd 1. Nod y modiwl yw datblygu'r sgiliau sylfaenol mewn siarad, gwrando ac ysgrifennu a gafwyd yn semester 1 er mwyn dod â hwy i'r lefel hyfedredd sy'n cyfateb i Lefel A. Bydd y myfyrwyr yn defnyddio'r egwyddorion gramadeg a ddysgwyd yn semester 1 wrth ysgrifennu darnau mwy estynedig, gan ganolbwyntio ar gystrawennau mwy cymhleth (Y Goddefol, y Dibynnol a'r Gorchmynnol). O ran datblygu sgiliau llafar, bydd y myfyrwyr yn trafod mwy yn yr iaith darged. Caiff sgiliau gwrando eu datblygu hefyd trwy ymarferion tâp sain a fideo. Key texts The following textbooks are used: Action Grammaire! 3rd edition by Phil Turk & Geneviève García Vandaele (Hodder Education, 2006). The French Experience 1 Marie Therese Bougard, Daniele Bourdais (BBC Publications, 2003) Students are given the following advice about purchasing a dictionary: “You may be able to manage with a concise one (not a pocket dictionary), but you should consider a ‘proper’ translating dictionary such as the Collins-Robert or Oxford-Hachette, and learn to use it effectively and regularly.”
  • Students without A Level French take LZF-1003 and LZF-1004 Students with A Level French take LZF-1001 and LZF-1002.

Optional Modules

20 credits from:

  • LZG-1003: German for Beginners I (20) (Semester 1)
    The module is devised to suit 'ab initio' and post-GCSE students of German and focuses on the development of basic oral, aural and written communicative skills. The module involves an introduction to and [in the case of those with GCSE knowledge of the language] a revision of key areas of grammar (present and past tenses, the future and conditional tenses, nouns, adjectives, prepositions). Students will acquire general vocabulary and key expressions relating to self, family, daily routine, hobbies, likes and dislikes, in part through role-play situations. Using appropriate audio/visual aids, students will also be introduced to modern and contemporary German culture and society Key Text Storz, Thomas, Jutta Müller and Hartmut Aufderstraße, Delfin (Munich: Hueber Verlag, 2014). Websites SMLC offers a link list for all language students that covers the most important resources (newspapers, TV channels, online grammar and dictionaries, etc.) in the language(s) that they study: http://www.bangor.ac.uk/ml/links-german.php.en (German online resources) http://www.bangor.ac.uk/ml/links-welsh.php.en (Welsh medium resources) Additionally, students are encouraged to consult: English-German Context Dictionary: http://www.linguee.com/
  • LZI-1003: Italian for Beginners I (20) (Semester 1)
    This is a module running in semester 1 aimed at absolute beginners. This module intends to make students become familiar with the basic structures of the language in order to enable them to express themselves, both orally and in writing, on very simple topics related to everyday life situations. The textbook adopted for this course is 'Spazio Italia 1' (Loescher Editore). This particular text has been selected for its communicative approach to language teaching which, in conjunction with a more traditional approach to grammar, allows students to speed up their progress in all the four essential language learning skills of speaking, reading, listening and writing. Key Texts: Diaco, Mimma Flavia & Maria Gloria Tommasini, Spazio Italia 1, (Torino: Loescher Editore, 2011). Diaco, Mimma Flavia & Maria Gloria Tommasini, Spazio Italia 3, (Torino: Loescher Editore, 2011). Webpages: www.rainews.it www.repubblica.it Any other learning resources: Lingu exercises
  • LZS-1003: Spanish Begin./Intermed. 1 (20) (Semester 1)
    This module is aimed at ab initio and post GCSE students of Spanish and focuses on the development of basic oral, aural and written communicative skills. The module involves an introduction to (and in the case of those with GCSE knowledge of the language), a revision of key areas of grammar (present and past tenses, the future and conditional tenses, nouns, adjectives, prepositions) and general vocabulary and key expressions relating to self, family, daily routine, hobbies, likes and dislikes and role-play situations. Through selected audio/visual aids, students will also be introduced to Spanish culture and society. Textbook: Kattán, Juan, and Angela Howkins, Spanish Grammar in Context, 3rd edn (New York: Routledge, 2014)
    or
    LCS-1003: Sbaeneg i Ddechreuwyr 1 (20) (Semester 1)
    Mae'r modiwl hwn wedi ei anelu at ddechreuwyr a myfyrwyr sydd wedi astudio TGAU Sbaeneg ac mae'n canolbwyntio ar ddatblygu sgiliau cyfathrebu llafar, clywedol ac ysgrifenedig sylfaenol. Mae'r modiwl yn cynnwys cyflwyniad ac (yn achos myfyrwyr sydd wedi astudio TGAU Sbaeneg) adolygiad o elfennau gramadegol allweddol (yr amser presennol a'r gorffennol, y dyfodol a'r amodol, enwau, ansoddeiriau, arddodiaid) a geirfa ac ymadroddion cyffredin sy'n ymwneud â'r hunan, y teulu, bywyd pob dydd, hobïau, hoff bethau a chas bethau a chwarae rôl. Trwy gymhorthion clywedol/gweledol cyflwynir myfyrwyr hefyd i ddiwylliant a chymdeithas Sbaenaidd. Llyfr cwrs: Kattán, Juan, and Angela Howkins, Spanish Grammar in Context, 3rd edn (New York: Routledge, 2014)
  • LZG-1004: German for Beginners II (20) (Semester 2)
    This module is aimed at all first year students who have completed German for Beginners 1. The module aims to develop the basic oral, aural and written communicative skills acquired in semester 1 in order to bring students up to and beyond a level of proficiency equivalent to 'A' level. Students apply the grammatical principles learned in semester 1 to extended pieces of writing and also focus on more complex grammatical structures. Aural communicative skills are developed through audio and video tape comprehension exercises and students are required to make individual presentations on more sophisticated topics Course book: Storz, Thomas, Jutta Müller and Hartmut Aufderstraße, Delfin (Munich: Hueber Verlag, 2014). Websites: SMLC offers a link list for all language students that covers the most important resources (newspapers, TV channels, online grammar and dictionaries, etc.) in the language(s) that they study: http://www.bangor.ac.uk/ml/links-german.php.en (German online resources) http://www.bangor.ac.uk/ml/links-welsh.php.en (Welsh medium resources) Additionally, students are encouraged to consult: English-German Context Dictionary: http://www.linguee.com/
  • LZI-1004: Italian for Beginners II (20) (Semester 2)
    This module is aimed at all first year students who have completed Italian for Beginners 1. The module aims to develop the basic oral, aural and written communicative skills acquired in semester 1 in order to bring students up to and beyond a level of proficiency equivalent to 'A' level. Students apply the grammatical principles learned in semester 1 to extended pieces of writing and also focus on more complex grammatical structures. Aural communicative skills are developed through audio and video tape comprehension exercises and students are required to make individual presentations on more sophisticated topics. Key Texts: Diaco, Mimma Flavia & Maria Gloria Tommasini, Spazio Italia 1, (Torino: Loescher Editore, 2011). Diaco, Mimma Flavia & Maria Gloria Tommasini, Spazio Italia 3, (Torino: Loescher Editore, 2011). Webpages: www.rainews.it www.repubblica.it Any other learning resources: Lingu exercises
  • LZS-1004: Spanish Begin./Intermed. 2 (20) (Semester 2)
    This module is aimed at all first year students who have completed Spanish for Beginners and Intermediate Students 1. The module aims to develop the basic oral, aural and written communicative skills acquired in semester 1 in order to bring students up to and beyond a level of proficiency equivalent to 'A' level. Students apply the grammatical principles learned in semester 1 to extended pieces of writing and also focus on more complex grammatical structures. Aural communicative skills are developed through audio and video tape comprehension exercises and students are required to make individual presentations on more sophisticated topics. Textbook: Kattán, Juan, and Angela Howkins, Spanish Grammar in Context, 3rd edn (New York: Routledge, 2014)
  • QXL-1112: Language and Culture (20) (Semester 2)
    1. the relationship between language, culture and thought processes, 2. the relationship between language and identity, 3. the structures of bilingual societies, 4. the different manifestations of multilingualism, particularly in relation to the concepts of bilingualism and diglossia, 5. the cultural, political, and anthropological issues surrounding minority languages & language policy.
  • LXE-1600: Cultures in Context (20) (Semester 2)
  • LXE-1700: History in Context (20) (Semester 1)

40 credits from:

  • WXM-1004: Intro - Harmony & Counterpoint (20) (Semester 1 + 2)
    This module aims to develop students’ understanding of the elements of musical language – melody, harmony, counterpoint, rhythm – through the study of compositional practice in the late Renaissance and Baroque periods. Students work through a course of study which will develop aural skills, score reading and analytical skills, creativity, and a thorough understanding of the parameters for the construction of music during the periods in question. This module is intended for those students who little or no prior knowledge of harmonic principles. Students with some prior experience (e.g. those who have done chorale harmonization as part of A-Levels or equivalent) will be encouraged to register for WXM1008. Please note: WXM1004 and 1008 both cover effectively the same material in both semesters; in semester 2, both groups are taught together; in semester 1 WXM1004 covers similar ground as WXM1008, but at a slower pace (hence the doubled contact hours).
    or
    WXC-1004: Cyflwyniad Harmoni/Gwrthbwynt (20) (Semester 1 + 2)
    Bwriad y modiwl hwn yw datblygu dealltwriaeth myfyrwyr o elfennau ieithwedd gerddorol – alaw, harmoni, gwrthbwynt, rhythm – trwy astudio’r arfer a oedd yn gyffredin i gyfansoddwyr yn ystod cyfnod y Dadeni Hwyr a'r Baróc. Mae myfyrwyr yn gweithio trwy gwrs o astudiaeth a fydd yn datblygu medrau sain glust, darllen sgorau, a medrau dadansoddol, creadigrwydd a dealltwriaeth o’r paramedrau a osodai’r sylfeini ar gyfer creu cerddoriaeth yn ystod y cyfnod dan sylw. Bwriedir y modiwl hwn ar gyfer y myfyrwyr hynny sydd â phrofiad cyfyngedig o egwyddorion harmonig. Anogir myfyrwyr mwy profiadol (e.e. y rhai sydd wedi astudio cydgordio corâl fel rhan o Lefel-A) i gofrestru ar gyfer WXC1008 yn lle hwn.
  • WXM-1006: Music Cultures of the World (20) (Semester 1 + 2)
    The rise of 'world music' in recent years has opened our ears to the enormous diversity of sounds produced by the world's peoples. This course offers a broad introduction to the various forms of musical expression found across the globe, with classes focusing on a selection of music cultures, such as Indonesian gamelan, Portuguese fado, or the music of a Brazilian city. Students will be introduced to an ethnomusicological approach to the study music, examining the part played by music in its cultural context and exploring the types of questions commonly asked by ethnomusicologists. The module will include practical workshops on instruments from various culturesand ususally a guest speaker, performer or workshop leader.
    or
    WXC-1006: Diwylliannau Cerdd Byd-Eang (20) (Semester 1 + 2)
    Cynnwys y modiwl Maes cymharol ddiweddar yw Ethnogerddoreg (neu’r astudiaeth o gerddoriaeth mewn cyd-destun cymdeithasol/diwylliannol) sydd wedi sicrhau derbyniad a sylw rhyngwladol yn ystod y 120 mlynedd diwethaf. O ganlyniad i hyn, tyfodd y diddordeb mewn diwylliannau cerddorol byd-eang a daeth traddodiadau cyfandiroedd fel yr Affrig, America Ladin, Dwyrain Ewrob a.y.b. yn seiniau cyfarwydd i ni yma yn y Gorllewin. Bellach, gwelir dylanwad y traddodiadau hyn ym myd cerddoriaeth gyfoes, ‘boblogaidd’ a gwerinol ein gwlad. Y mae’r cwrs hwn yn gyflwyniad i’r ddisgyblaeth arbennig hon ac i wahanol ddiwylliannau cerddorol y byd heddiw. Rhoddir sylw hefyd i offerynnau cerdd a’u swyddogaeth yn nhraddodiadau rhai gwledydd dethol yn ystod y flwyddyn.
  • WXM-1008: Higher Harmony & Counterpoint (20) (Semester 1 + 2)
    This module aims to develop students’ understanding of the elements of musical language – melody, harmony, counterpoint, rhythm – through the study of compositional practice in the late Renaissance and Baroque periods. Students work through a course of study which will develop aural skills, score reading and analytical skills, creativity, and a thorough understanding of the parameters for the construction of music during the periods in question. This module is intended for those students who have some prior knowledge of harmonic principles (e.g. those who have done chorale harmonization as part of A-Levels or equivalent). Students with less experience will be encouraged to register for WXM1004 instead. Please note: WXM1004 and 1008 both cover effectively the same material in both semesters, in semester 2 both groups are taught together, in semester 1 WXM1004 covers similar ground as WXM1008, but at a slower pace (hence double contact hours)
    or
    WXC-1008: Harmoni a Gwrthbwynt Uwch (20) (Semester 1 + 2)
    Cynnwys y Modiwl Bwriad y modiwl hwn yw datblygu dealltwriaeth myfyrwyr o elfennau ieithwedd gerddorol – alaw, harmoni, gwrthbwynt, rhythm – trwy astudio’r arfer a oedd yn gyffredin i gyfansoddwyr yn ystod cyfnod y Dadeni Hwyr a'r Baróc. Mae myfyrwyr yn gweithio trwy gwrs o astudiaeth a fydd yn datblygu medrau sain glust, darllen sgorau, a medrau dadansoddol, creadigrwydd a dealltwriaeth drylwyr o’r paramedrau a osodai’r sylfeini ar gyfer creu cerddoriaeth yn ystod y cyfnod dan sylw. Mae’r modiwl hwn wedi’i anelu at y myfyrwyr hynny sydd eisoes â rhywfaint o wybodaeth o egwyddorion harmoni (e.e. y rhai sydd wedi astudio cydgordio corâl fel rhan o Lefel-A). Anogir myfyrwyr llai profiadol i gofrestru ar gyfer WXC1004 yn lle hwn.
  • WXK-1010: Sonic Art (20) (Semester 1 + 2)
  • WXK-1011: Composition Year 1 (20) (Semester 1 + 2)
    This course will introduce students to some of the compositional techniques used in the twentieth and twenty first centuries and show how harmony, rhythm, structure, instrumentation and pitch have evolved, presenting students with the basic tools for composition. The first half of the course will look at these techniques in relation to a number of important musical styles that evolved during the twentieth century. The course will also consider individual instruments and their particular characteristics, in addition to vocal writing. Students are then encouraged to try out these techniques in exercises and assignments, which will be set throughout the course..
    or
    WXC-1011: Cyfansoddi Blwyddyn 1 (20) (Semester 1 + 2)
    Bydd y cwrs hwn yn cyflwyno’r myfyriwr i rai o’r technegau cyfansoddi a ddefnyddiwyd yn yr 20fed ganrif, gan ddangos sut mae harmoni, rhythm, adeiledd, offeryniaeth a thraw wedi datblygu. Rhoddir y cyfryngau sylfaenol i’r myfyrwyr ar gyfer cyfansoddi. Bydd y cwrs hefyd yn ystyried offerynnau penodol a’u nodweddion arbennig, yn ogystal ag ysgrifennu ar gyfer y llais. Yna anogir y myfyrwyr i roi cynnig ar y technegau yn eu cyfansoddiadau hwy eu hunain.
  • WXP-1016: Solo Performance Year 1 (20) (Semester 1 + 2)
    This module combines a programme of individual instrumental or vocal tuition with an introduction to a range of important issues which concern performers, including preparing and delivering a recital programme, effective practice techniques, working with other musicians, and different approaches to interpretation. THIS MODULE IS NOT AVAILABLE TO STUDENTS OUTSIDE THE SCHOOL OF MUSIC. CO-REQUISITE: minimum of ABRSM 7 or equivalent.
    or
    WXC-1016: Perfformio Unawdol Blwyddyn 1 (20) (Semester 1 + 2)
    Mae’r modiwl yn cyfuno rhaglen o hyfforddiant unigol ar offeryn neu lais â chyflwyniad i amrediad o faterion pwysig sy’n ymwneud â cherddorion, yn cynnwys paratoi a pherfformio rhaglen datganiad, technegau ymarfer effeithiol, gweithio â cherddorion eraill, a dulliau gwahanol o dehongli. NID YW'R MODIWL HWN AR GAEL I FYFYRWYR O'R TU ALLAN I'R YSGOL CERDDORIAETH. CYD-OFYNIAD: o leiaf ABRSM Gradd 7 neu gyfwerth.

Year 2 Modules

Compulsory Modules

Semester 1

  • LZF-2040: French Language Skills (40) Core
    Building on the foundations of the first year language course, classes on written language skills, listening comprehension and translation into English, and oral communication skills will further develop proficiency and fluency in French. Written language skills include grammar review, paraphrasing, translation into French and essay-writing, and will focus on journalistic, literary and professional language. Listening comprehension classes will draw from modern, authentic material including recent French TV reports, and involve comprehension and paraphrasing exercises. The language materials used will concern the following topics: media, employability, the arts and socio-cultural debates. Oral skills will develop fluency across different registers of spoken French. All classes seek to develop the skills students will need for their third year in a French-speaking country.
    or
    LCF-2040: Sgiliau Iaith Ffrangeg (40) Core
    Gan adeiladu ar sylfaeni cwrs iaith y flwyddyn gyntaf, bydd y dosbarthiadau ar sgiliau ysgrifenedig, gwrando a deall a chyfieithu i'r Gymraeg/Saesneg, a sgiliau llafar yn datblygu hyfedredd a rhuglder yn y Ffrangeg. Bydd y sgiliau iaith ysgrifenedig yn cynnwys adolygu pwyntiau gramadegol, aralleirio, cyfieithu i'r Ffrangeg ac ysgrifennu traethodau, ac yn canolbwyntio ar yr iaith newyddiadurol, lenyddol a phroffesiynol. Bydd y dosbarthiadau gwrando a deall yn defnyddio ffynonellau dilys oddi ar y teledu, ac yn cynnwys trawsgrifio i'r Gymraeg/Saesneg. Bydd pob dosbarth yn datblygu'r sgiliau y bydd ar y myfyrwyr eu hangen yn eu trydedd flwyddyn pan fyddant mewn gwlad lle siaredir Ffrangeg.

Semester 2

  • LZF-2040: French Language Skills
    Building on the foundations of the first year language course, classes on written language skills, listening comprehension and translation into English, and oral communication skills will further develop proficiency and fluency in French. Written language skills include grammar review, paraphrasing, translation into French and essay-writing, and will focus on journalistic, literary and professional language. Listening comprehension classes will draw from modern, authentic material including recent French TV reports, and involve comprehension and paraphrasing exercises. The language materials used will concern the following topics: media, employability, the arts and socio-cultural debates. Oral skills will develop fluency across different registers of spoken French. All classes seek to develop the skills students will need for their third year in a French-speaking country.
    or
    LCF-2040: Sgiliau Iaith Ffrangeg
    Gan adeiladu ar sylfaeni cwrs iaith y flwyddyn gyntaf, bydd y dosbarthiadau ar sgiliau ysgrifenedig, gwrando a deall a chyfieithu i'r Gymraeg/Saesneg, a sgiliau llafar yn datblygu hyfedredd a rhuglder yn y Ffrangeg. Bydd y sgiliau iaith ysgrifenedig yn cynnwys adolygu pwyntiau gramadegol, aralleirio, cyfieithu i'r Ffrangeg ac ysgrifennu traethodau, ac yn canolbwyntio ar yr iaith newyddiadurol, lenyddol a phroffesiynol. Bydd y dosbarthiadau gwrando a deall yn defnyddio ffynonellau dilys oddi ar y teledu, ac yn cynnwys trawsgrifio i'r Gymraeg/Saesneg. Bydd pob dosbarth yn datblygu'r sgiliau y bydd ar y myfyrwyr eu hangen yn eu trydedd flwyddyn pan fyddant mewn gwlad lle siaredir Ffrangeg.

Optional Modules

20 credits from:

  • LXF-2101: Paris (20) (Semester 2)
    The 2,300 year story of the city of Paris is a rich and varied one, played out at the heart of French history, culture, and national identity; this is reflected in the variety of material covered in this module. We will study elements drawn from the following list (though not necessarily all of them in a given year): general history of the development of Paris, with particular emphasis on the Second Empire and the cultural très grands chantiers of recent decades; episodes of conflict in Paris (e.g. Siege and Commune, the Liberation, May 1968); Paris by 'monuments' - significance of major (and some minor) sites on the tourist trail; and highlights such as the 'expositions universelles'. It is not necessary to have visited Paris before taking this module; one aim of the course is to help you appreciate the city, and get more out of time spent there subsequently. Key texts Primary texts and films include: Code Inconnu. Dir. Michael Haneke. Artificial Eye. 2000 Le fabuleux destin d’Amélie Poulain. Dir. Jean-Pierre Jeunet. UGC. 2001 Patrick Modiano’s Dora Bruder Leïla Sebbar’s Métro Instantanés (2007) Main secondary materials include: Margaret Atack. ‘L’imaginaire de mai’ in May 68 in French fiction and film: rethinking society, rethinking representation (Oxford: Oxford University Press, 1999) Jean Baudrillard’s ‘The Beaubourg Effect’ Matthew Moran, ‘Power Relations and Representation: the Power of the Media’ in The Republic and the Riots: Exploring Urban Violence in French Suburbs, 2005-2007 (Bern: Peter Lang, 2012) Pierre Nora, ‘Between Memory and History’
  • LXF-2104: French Cinema 1895-1950 (20) (Semester 1)
    The French hold cinema in greater esteem than perhaps any other nation, both as an art form and as popular entertainment; since its inception, the septième Art has produced a wealth of talent and many films of world standing. In this course we will look - on the big screen - at prominent examples of French cinema from its first decades, from the earliest work of the Lumière brothers in the 1890s to the mid-20th Century. The course looks at the general development of French cinema in the period, concentrating on: (i) a major classic from the silent era; (ii) a film from the Poetic Realism movement of the 1930s; (iii) an artistic, non-realist film from the end of the period covered. Key texts Main films studied Luis Buñuel’s Un Chien andalou Jean Vigo’s Vigo’s Zéro de conduite Jean Renoir’s Boudu sauvé des eaux Jean Renoir’s La Grande Illusion Marcel Carné’s Hôtel du Nord Marcel Carné’s Le Jour se lève Main secondary texts Andrew, James Dudley. Mists of regret: culture and sensibility in classic French film (Princeton: Princeton University Press, 1995). Armes, Roy. French Cinema (London: Secker and Warburg, 1985). Hayward, Susan. French National Cinema, (London and New York: Routledge, 2005). Hayward , Susan and Ginette Vincendeau (eds.). French Film: Texts and Contexts (London and New York: Routledge, 2002). Martin, John. The Golden Age of French Cinema, 1929-1939 (London: Columbus Books, 1983). Powrie, Phil and Keith Reader (eds.). French Cinema: A Student's Guide (London: Arnold, 2002). Williams, Alan. Republic of images: a history of French film making (Cambridge, MA: Harvard University Press, 1992).
  • LXF-2105: Race and Immigration in France (20) (Semester 2)
    This module will begin by providing a brief history of immigration and debates about immigration in France, before looking at how race is conceptualized in France and assessing how France's Republican political traditions influence perceptions of race. The module will include a variety of texts and films, such as Frantz Fanon's seminal text "Peau noire, masques blancs" (1952), Alain Gomis's 2001 film "L'Afrance", Kamini's 2006 rap video "Marly-Gomont", Azouz Begag's 1989 novel "Béni ou le paradis privé", and two recent doocumentary films by Carole Sionnet, "Parmi Nous" (2004) and "Pour le meilleur" (2007). Main texts and films studied Laurent Cantet’s Entre les murs (2008). Alain Gomis’s L’Afrance (2001). Begag, Azouz. Béni ou le paradis privé (Seuil: Paris, 1989). Pineau, Gisèle. L’Exil selon Julia (LG : Paris, 1996). Main secondary materials Sam Haigh (ed), An introduction to Caribbean francophone writing, (Oxford: Berg, 1999). Hargreaves, Alec. Multi-ethnic France: Immigration, Politics, Culture and Society (Abingdon: Routledge, 2007). Hargreaves, Alec. Voices from the North African Community in France: Immigration and Identity in Beur Fiction (Oxford: Berg, 1997) Jennings, Jeremy. 2000. ‘Citizenship, Republicanism and Multiculturalism in Contemporary France’, British Journal of Political Science, 30(4): 575-598. Tarr, Carrie. Reframing difference: beur and banlieue filmmaking in France (Manchester, UK : Manchester University Press, 2005).
  • LXF-2113: Reading France (20) (Semester 1)
    The course is conceived with a view to enable students to situate and deconstruct narratives of the French nation-state, nation-hood and national belonging. Structured around the three foundational concepts of Republican ideology − Liberty, Equality and Fraternity – the course organizes topics in a chronological and thematic fashion and, in so doing, engages students with various texts that demonstrate the evolution of the French Republic. Topics included under ‘Liberty’ will engage with the emergence of the First Republic in correspondence with revolutionary literature, and treat of foundational texts (e.g. The Declaration of the Rights of Man and the Citizen) as well as challenges to these foundations (e.g. The Declaration of the Rights of Woman and the Female Citizen). Topics will include the idea of ‘Revolution’, the emergence of the bourgeoisie and the idea of the ‘Citizen’. In the module’s middle phase students will explore the theme of ‘Equality’ as reconnoitred in a range of texts from the modern to the contemporary period, where topics covered will include war, the Trente glorieuses, the role of women in society and recent economic crisis. In the module’s final phase, students will engage with the theme of ‘Fraternity’ broadly understood as a node from which to unpack more contemporary literature treating of challenges to the idea of national and cultural unity. Topics will explore transnational geographies and identities, engaging with literary representations of ‘community’, globalization, security, Islam and the imagined futures of the French Republic. In its coverage, this module overall will therefore provide students with an insight into French republicanism from the perspective of its writers, drawing their attention to the ways in which literature and textuality have been formative in understanding how the events, geographies and identities of the Republic are both consistently realised and constantly reconsidered.

0 to 20 credits from:

  • Study Area 1: Musicology
  • WXC-2011: Cerddoreg Blwyddyn 2 (20) (Semester 1 + 2)
    Mae ymchwil yn fedr academaidd sylfaenol, ac felly hefyd y gallu i ysgrifennu’n effeithiol ar ganlyniad yr ymchwil honno. Ar y modiwl hwn, mae myfyrwyr yn gwneud ymchwil i bwnc o’u dewis, ac yn ysgrifennu ar eu canfyddiadau mewn traethawd o ryw 4500-5000 o eiriau. Ar yr un pryd, mae’r modiwl yn cyflwyno myfyrwyr i rai o gonfensiynau a dulliau ymchwil a chyflwyno cerddoregol, a hynny trwy astudiaeth ar wahanol enghreifftiau o ysgrifennu academaidd. Ar ben hynny, bydd myfyrwyr yn parhau i ddatblygu’r medrau astudio a ddysgir yn Astudio Cerddoriaeth, yn cynnwys medrau llyfryddiaethol, medrau meddwl yn annibynnol, a medrau cyflwyno ar lafar. Bydd y modiwl yn paratoi myfyrwyr ar gyfer ysgrifennu Traethawd Hir ym Mlwyddyn 3, a gall hefyd fod yn fuddiol i fyfyrwyr sy’n ystyried Project Golygu ym Mlwyddyn 3.
  • WXM-2011: Musicology Year 2 (20) (Semester 1 + 2)
    Research is a fundamental academic skill, and so too is the ability to effectively communicate the results of that research in writing. On this module, students undertake research into a musical topic of their own choice, and write up their findings in the form of a short dissertation of around 4500-5000 words. At the same time, the module introduces students to some of the conventions and methods of musicological research and presentation, through the study of various examples of academic writing. Moreover, students will continue to develop study skills taught in The Study of Music, including bibliographical skills, skills of independent thinking, and skills in oral presentation. The module will prepare students for undertaking a Dissertation in Year 3, and may also be useful to students considering undertaking an Editing Project in Year 3.
    or
    WXC-2011: Cerddoreg Blwyddyn 2 (20) (Semester 1 + 2)
    Mae ymchwil yn fedr academaidd sylfaenol, ac felly hefyd y gallu i ysgrifennu’n effeithiol ar ganlyniad yr ymchwil honno. Ar y modiwl hwn, mae myfyrwyr yn gwneud ymchwil i bwnc o’u dewis, ac yn ysgrifennu ar eu canfyddiadau mewn traethawd o ryw 4500-5000 o eiriau. Ar yr un pryd, mae’r modiwl yn cyflwyno myfyrwyr i rai o gonfensiynau a dulliau ymchwil a chyflwyno cerddoregol, a hynny trwy astudiaeth ar wahanol enghreifftiau o ysgrifennu academaidd. Ar ben hynny, bydd myfyrwyr yn parhau i ddatblygu’r medrau astudio a ddysgir yn Astudio Cerddoriaeth, yn cynnwys medrau llyfryddiaethol, medrau meddwl yn annibynnol, a medrau cyflwyno ar lafar. Bydd y modiwl yn paratoi myfyrwyr ar gyfer ysgrifennu Traethawd Hir ym Mlwyddyn 3, a gall hefyd fod yn fuddiol i fyfyrwyr sy’n ystyried Project Golygu ym Mlwyddyn 3.

0 to 40 credits from:

  • Study Area 2: Composition
  • WXK-2233: Composition Year 2 (20) (Semester 1 + 2)
    This module seeks to build on Level 4 Composition, while at the same time introducing new ideas and techniques. Throughout, the emphasis will be on introducing students to the multiplicity of styles and techniques that have emerged during the second half of the 20th century and the first decade of the 21st. This may include bold experimentation and creative innovation, including working with non-tonal styles (pre-tonal, post-tonal, atonal), or the study of post-tonal and post-minimal styles of recent decades.
    or
    WXC-2233: Cyfansoddi Blwyddyn 2 (20) (Semester 1 + 2)
    Adeilada’r modiwl hwn ar astudiaethau Cyfansoddi Blwyddyn 1, ynghyd â chyflwyno syniadau a thechnegau newydd ar yr un pryd. Bydd pwyslais cyson ar arbrofi mentrus a newydd-deb creadigol, gan weithio gydag arddulliau anghyweiraidd (cyn-donyddol, ôl-donyddol ac anhonyddol), ynghyd ac ymdriniaethau newydd o ffurf. Ceir gwaith damcaniaethol (gwrando, dadansoddi a thrafod pynciau) ynghyd a gwaith ymarferol (gweithio drwy dechnegau, cyflwyno enghreifftiau, datrys problemau), gan ganolbwyntio ar dechnegau ac elfennau penodol - rhai yn newydd, a rhai yn gyfarwydd ers modiwl Cyfansoddi Lefel 1. Nid yw’r modiwl hwn yn addas ar gyfer myfyrwyr sy’n dymuno cyfansoddi mewn arddulliau hanesyddol neu pastiche.
  • WXK-2235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)

0 to 20 credits from:

  • Study Area 3: Performance
  • WXP-2241: Solo Performance Year 2 (20) (Semester 1 + 2)
    The students will be expected to build on and expand skills already established during the solo performance modules in Year 1. This will be carried out through individual instrumental or vocal tuition. The tutor will provide consultation and help construct a projected programme of stylistically-varied technical and interpretive solo repertoire for the students to explore that will benefit the individual’s technical and musical development. Please note that students may also follow a maximum of 20 credits in ensemble performance across levels 5 & 6. This module is capped at 20 students
    or
    WXC-2241: Perfformio Unawdol Blwyddyn 2 (20) (Semester 1 + 2)
    Bydd disgwyl i’r myfyrwyr adeiladu ar fedrau y maent eisoes wedi’u dysgu yn ystod y modiwlau perfformio unigol ar lefelau 1 neu 2 ac adeiladu arnynt. Gwneir hyn trwy hyfforddiant offerynnol neu leisiol unigol. Bydd y myfyriwr a’r tiwtor yn ymgynghori, a bydd y tiwtor yn cynorthwyo i lunio rhaglen arfaethedig o repertoire technegol a deongliadol yn dangos arddulliau amrywiol, i’r harchwilio gan y myfyriwr, ac a fydd yn fuddiol i ddatblygiad technegol a cherddorol yr unigolyn. modiwl 'cap' o 20 o fyfyrwyr

0 to 20 credits from:

  • Study Area 4: Editing
  • WXM-2205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental, from the fifteenth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score, some in parts, some in tablature; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the course is divided into two parts, which will focus on different skills: Semester 1: ‘Notation’ introduces students to the palaeography of music before 1600 and teaches the elementary skills for the understanding and transcription of white mensural notation. Semester 2: ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’.

0 to 20 credits from:

  • Genre/Comp Studies Sem 1
  • WXM-2012: Music Revivals (10) (Semester 1)
    1. A number of selected case studies of music revival in the will form the basis of the module. 2. The music revivals studied will be drawn from classical, folk, and popular traditions. 3. Each revival will be examined in its historical and cultural context. 4. Current critical and theoretical perspectives on the issues of music revival will be presented and discussed. 5. Issues of cultural nationalism, contrasting preservationist and modernist ideologies, and the inevitable nature of transformation inherent in music revival will be examined in detail, as well as the impact of these on the music itself.
  • WXM-2016: Ancient Mexican Music (10) (Semester 1)
  • WXC-2154: Wagner (Cymraeg) (10) (Semester 1) or
    WXM-2154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
  • WXM-2154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
    or
    WXC-2154: Wagner (Cymraeg) (10) (Semester 1)
  • WXM-2176: The Music of Michael Nyman (10) (Semester 1)
    : Nyman's rise to international prominence during the past three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its ‘parasitic’ borrowing of other composers' ideas and for its relentless self-borrowing. In this course, I will attempt to address these issues by placing Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism in order to develop a series of useful areas from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory, I will introduce concepts relating to appropriation and borrowing within the context of twentieth-century art music and theory. I will then explain and define intertextuality, before placing Nyman's musical language in relation to a series of classifications and types. These types will form the basis of more in-depth studies of certain works during the second half of the course, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, provides his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of aesthetic and expressive forms. Nyman composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them.
    or
    WXC-2176: Cerddoriaeth Michael Nyman (10) (Semester 1)
    Wrth iddo ennill enwogrwydd yn rhyngwladol yn ystod y tair degawd ddiwethaf, mae Nyman wedi dod yn un o gyfansoddwyr mwyaf llwyddiannus y byd o blith y rhai sy’n dal yn fyw. Serch hynny, mae ei gerddoriaeth wedi’i beirniadu am fenthyca’n barasitig o syniadau cyfnasoddwyr eraill ac am fenthyca oddi wrthi ei hun yn ddidrugaredd. Ar y modiwl hwn, eir ati i roi sylw i’r materion hyn, gan osod gweithiau Nyman o fewn cyd-destun cyffredinol cerddoriaeth arbrofol Eingl-Ameiricanaidd, minimaliaeth ac ôl-finimaliaeth, mewn ymgais i ddatblygu cyfres o ddulliau buddiol o ddeall a gwerthfawrogi ieithwedd gerddorol Nyman. Gan dynnu ar dermau y mae theori ryng-destunol yn sail iddynt, cyflwynir cysyniadau yn ymwneud â meddiannu a bnthuca o fewn cyd-destun cerddoriaeth gelfyddydol a theori’r 20fed ganrif. Yna, bwriedir egluro a diffinio rhyng-destunedd, cyn gosod iaith gerddorol Nyman yng nghyswllt cyfres o ddosbarthiadau a mathau. Yna, daw’r mathau hyn yn sail ar gyfer mwy o astudiaethau manwl ar rai gweithiau penodol yn ystod ail hanner y modiwl, gan amrywio o opera a cherddoriaeth siambr i gerddoriaeth ffilm. Yn hytrach na chyfyngu arddull a thechneg, mae dull rhyng-destunol Nyman, i’r gwrthwyneb, yn rhoi i’r gerddoriaeth amrywiaeth a hyblygrwydd sydd bron yn ddi-ben-draw, ac mae hynny wedi’i ddefnyddio i gyfleu ystod eang o ffurfiau esthetig a mynegiannol. Cyfansodda Nyman gyda’i glust tua’r gorffennol fel petae’n chwarel gyfoethog i’w chloddio, yn gweithio fel archaeolegydd cerdd, gan ddatguddio arteffactau a chreu delweddau cerddorol deinamig allan ohonynt.
  • WXM-2198: Handel (10) (Semester 1)
    George Frideric Handel was one of the most important composers of the late Baroque era. However, since the nineteenth century his reputation has largely rested on a relatively small number of works, particularly among concert-going audiences and non-specialists; he is perhaps best known for large-scale dramatic works such as Messiah and orchestral works such as the Water Music. In fact, Handel composed in almost every instrumental and vocal genre of his day. He was essentially a conservative composer, but one whose genius was acknowledged and revered by contemporaries; he was one of the first composers to have his biography written (1760) and his birth marked by centennial celebrations (1784); he was also one of the first composers of whom a collected works was attempted (1787-97). Unlike Bach, Handel’s music never fell out of the repertoire and thus played a significant part in the historical development of the musical ‘canon’; moreover, his works have also played an important role in the historical performance movement of the late twentieth century.
  • WXC-2215: Cerdd Cymru 18 a 19eg ganrif (10) (Semester 1)
    Er amled y cyfeiriadau ar hyd y canrifoedd at Gymru fel ‘Gwlad y gân’, dim ond yn ddiweddar iawn y rhoddwyd y sylw dyladwy i faes Cerddoriaeth yng Nghymru fel rhan o gwrs gradd (Cerddoriaeth). Gwelwyd tuedd gyffredinol ymhlith cerddorion proffesiynol y gorffennol i anwybyddu’r traddodiad ar draul derbyn agweddau ar gerddoriaeth gwledydd estron. I’r perwyl hwn, fe adawyd bylchau mawr yn ein llenyddiaeth gerddorol fel cenedl, dibrisiwyd gwerth nifer o’n traddodiadau a chollwyd golwg ar rai nodweddion unigryw Cymru a’i phobl. Cwrs rhagarweiniol yw hwn, ac astudir cerddoriaeth Cymru’r 18fed a’r 19eg ganrif o safbwynt hanesyddol, cymdeithasol a diwylliannol. Rhoddir sylw i faes casglu a chofnodi cerddoriaeth, llawysgrifau cerddorol, cerddoriaeth y delyn, canu gwerin, cerddoriaeth gysegredig a seciwlar, arloeswyr cerddorol y cyfnod a’r traddodiad corawl.

0 to 20 credits from:

  • Genre/Comp Studies Sem 2
  • WXM-2013: Post-War British Opera (10) (Semester 2)
    This module will begin with a focus on Britten and Tippett’s major contributions to the genre, and subsequent lectures will examine the ways in which British composers have explored different categories of opera. Many composers, for instance, have been drawn to chamber and/or comic opera, with Elizabeth Maconchy’s The Sofa (1956-57) and Grace Williams’s The Parlour (1960-66) as notable examples. During the 1960s, British musical life was vitalised by the expressivist theatricality of music theatre works by Alexander Goehr, Harrison Birtwistle and Peter Maxwell Davies, and these composers continued to enrich the operatic genre in subsequent years. The series will conclude by examining a selection of later, full-scale opera including William Mathias’s The Servants (1980) and Judith Weir’s A Night at the Chinese Opera (1987).
  • WXM-2155: Cage and Experimental Music (10) (Semester 2)
    This course is an introduction to the work and life of American composer John Cage. Subjects covered will include the concept of 'experimental music', Cage's percussion pieces of the 1930s, his rhythmic interpretation of Schoenberg's serial technique, the works for prepared piano in the 1940s, Cage's ideas about chance, the impact of Zen Buddhism, Fluxus events in the 1960s, and his reinterpretation of opera during the 1970s.
  • WXC-2160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
    or
    WXM-2160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.
  • WXM-2160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.
    or
    WXC-2160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
  • WXM-2211: Seven Jazz Women (10) (Semester 2)
    The module will present seven female jazz vocalists who usually accompany themselves on piano and are noted both for their vocal and piano styles. Highly influential musicians such as Nina Simone and Norah Jones will be supplemented by lesser known but nonetheless important figures such as Shirley Horn and Aziza Mustafa Zadeh. Their work will be examined in the broader context of jazz and popular music studies and theorised with reference to ethnomusicological and feminist critiques.

0 to 20 credits from:

  • Other modules
  • WXM-2186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-2186: Cerdd mewn Iechyd a lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXC-2187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-2191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.)
    or
    WXC-2191: Ysgrifennu Caneuon (20) (Semester 1 + 2)
    Amcan y modiwl Sgiliau Ysgrifennu Caneuon yw cyflwyno’r myfyriwr i elfennau technegol a chreadigol bwysig y grefft o gyfansoddi cân dda, tra ar yr un pryd yn cynnig cipolwg ar ddatblygiadau ffurfiol y gân boblogaidd yn ystod ail hanner yr ugeinfed ganrif drwy ddadansoddi enghreifftiau penodol. Cyflwynir sgiliau sylfaenol ynghŷd â rhai mwy soffistigedig o gyfansoddi a threfnu caneuon mewn nifer o genres gwahanol, gan gyfeirio yn arbennig at elfennau megis gwrthbwynt rhythmig, geirfa harmonig, siapio alawol, ffurfiau set, a gwead a lliwio cerddorol. Dangosir hyn mewn perthynas a nifer o arddulliau caneuon, o Gwerin at Jazz a Roc. Disgwylir i’r myfyriwr feithrin sgiliau’r cyfarwyddwr cerdd hefyd, gan ddangos y gallu i drawsgrifio recordiad o gân bop a’i threfnu yn gywir ar gyfer gitâr fas ac un chwe thant, drymiau, piano, allweddellau, ac yn y blaen. Ar ddiwedd y cwrs fe fydd y myfyriwr yn medru cyfansoddi mewn nifer o arddulliau gwahanol, ac wedi meithrin ar y sgiliau o gyflwyno gwaith i safon boddhâol un ai’n electronaidd (ar ffeil MP3, CD, neu debyg) neu mewn nodiant cerddorol ar feddalwedd Sibelius.
  • WXM-2201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-2207: Harmony & Counterpoint Year 2 (20) (Semester 1 + 2)
    This module builds on and develops the basic analytical and (pastiche) compositional skills acquired in WXM/WXC 1004/1008. It will explore in detail a variety of vocal and instrumental music, and compositional practices and techniques from the late sixteenth to the early nineteenth centuries; students will be introduced to a range of music from analytical and compositional perspectives. The module will focus on particular genres (such as piano sonata, string quartet) and forms (such as sonata- form exposition, rondo). It will also introduce students to advanced chromaticism and modulation in a range of contexts; these aspects will also be discussed in relation to historical development.
  • WXK-2232: Orchestration Today (20) (Semester 1 + 2)
    Description: This course aims to expand upon issues addressed in Orchestration A. More involved orchestration procedures will be discussed in relation to the new elements of instrumental technique that evolved in the wake of developments in instrumental technology. Students will add auxiliary woodwind instruments to their orchestras together with additional percussion so that students can score for a modern orchestra. Each student is required to respond both verbally and on paper in either week 3, 6 or 9, to a task which will be given out in the previous seminar. This will be assessed as part of the coursework (see assessment below). Method, frequency and number of classes: Eight classes of around 1 hour and 15 minutes during weeks 1 - 6 and weeks 8 - 9, with a one-to-one tuition session in week 10. Assessment: One large assignment at 50% with three smaller pieces of course work making up 30%, and a verbal/written response to a set task, worth 20%. coursework 1: set in week 1, to be submitted in week 3 coursework 2: set in week 4 to be submitted in week 6 coursework 3: set in week 8 to be submitted in week 10 assignment: set in semester 2 week 10, to be submitted in week 13 WXK 2232: Learning Outcomes: On completion of the module, a student should have: 1. acquired skills of scoring in an appropriate manner for a modern orchestra, writing idiomatically for the instruments used (assessed by the written coursework and the assignment) 2. understood the technical restraints of instruments (assessed by the written coursework and the assignment) 3. developed skills in score presentation, using appropriate indications such as bowing (assessed by the written coursework and the assignment) 4. identified Orchestration procedures and should be able to discuss these (assessed by the aural task)
  • WXP-2243: Ensemble performance 1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-2244: Ensemble performance 2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-2253: Fusion Ensemble 1 (10) (Semester 1)
    Students will learn approaches to improvisation and playing together from a number of musical traditions including jazz, European traditional music, and the music of other cultures such as those of China and Brazil. They will be led in workshops by a tutor where they will experiment with different techniques and develop pieces for performance. Students will work in different ensembles and with various instruments. Feedback will be provided as performance pieces are rehearsed for assessment.
  • WXP-2254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-2268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-2269: Community Arts Project (20) (Semester 1 + 2)

Year 4 Modules

Compulsory Modules

Semester 1

  • LZF-3030: French Language Skills (30) Core
    This 30 credit module running throughout the year promotes appropriate use of style and register in all written and oral work and ensures that students can deal with variations in register and idiomatic expression in a confident and accurate manner. Through exposure to selected texts, complex grammatical structures and audiovisual materials, students acquire reading, writing, aural and oral skills which match the required standard of final year linguists.
    or
    LCF-3030: Sgiliau Iaith Ffrangeg (30) Core
    Ar ôl cwblhau blwyddyn dramor, dylai'r myfyrwyr fod eisoes wedi cyrraedd lefel uchel ar lafar yn Ffrangeg. Caiff rhan lafar y modiwl hwn ei ddysgu gan siaradwr brodorol, a'r nod yw cynnal a gwella'r sgiliau hyn wrth baratoi ar gyfer yr arholiad terfynol a'r byd tu allan. Canolbwyntir ar sgiliau cyflwyno ar lafar a rhyngweithio â siaradwyr brodorol. Bydd y rhan fideo'n defnyddio ffynonellau sydd 100% oddi ar deledu Ffrangeg, a bydd y modiwl yn hyfforddi ac yn arholi'r myfyrwyr mewn tair sgil sef deall materion gwahanol a'r iaith a ddefnyddir i'w trafod; sgiliau trawsgrifio manwl gywir; a sgiliau cyfieithu yn seiliedig ar waith trawsgrifio'r myfyrwyr. Bydd y cwrs yn talu sylw arbennig i ddadleuon ac i gael ymwybyddiaeth a dealltwriaeth o sawl agwedd ar yr iaith gyfoes. Mae llawer o gefnogaeth i'w chael yn y Ganolfan Ieithoedd. Mae'r rhan ar gyfieithu yn fwy traddodiadol, ac mae rhoi hyfforddiant a phrofiad i'r myfyrwyr mewn cyfieithu darnau Cymraeg a Saesneg i Ffrangeg idiomatig, ac fel arall. Mae'r testunau'n dod o amryw o ffynonellau.

Semester 2

  • LZF-3030: French Language Skills
    This 30 credit module running throughout the year promotes appropriate use of style and register in all written and oral work and ensures that students can deal with variations in register and idiomatic expression in a confident and accurate manner. Through exposure to selected texts, complex grammatical structures and audiovisual materials, students acquire reading, writing, aural and oral skills which match the required standard of final year linguists.
    or
    LCF-3030: Sgiliau Iaith Ffrangeg
    Ar ôl cwblhau blwyddyn dramor, dylai'r myfyrwyr fod eisoes wedi cyrraedd lefel uchel ar lafar yn Ffrangeg. Caiff rhan lafar y modiwl hwn ei ddysgu gan siaradwr brodorol, a'r nod yw cynnal a gwella'r sgiliau hyn wrth baratoi ar gyfer yr arholiad terfynol a'r byd tu allan. Canolbwyntir ar sgiliau cyflwyno ar lafar a rhyngweithio â siaradwyr brodorol. Bydd y rhan fideo'n defnyddio ffynonellau sydd 100% oddi ar deledu Ffrangeg, a bydd y modiwl yn hyfforddi ac yn arholi'r myfyrwyr mewn tair sgil sef deall materion gwahanol a'r iaith a ddefnyddir i'w trafod; sgiliau trawsgrifio manwl gywir; a sgiliau cyfieithu yn seiliedig ar waith trawsgrifio'r myfyrwyr. Bydd y cwrs yn talu sylw arbennig i ddadleuon ac i gael ymwybyddiaeth a dealltwriaeth o sawl agwedd ar yr iaith gyfoes. Mae llawer o gefnogaeth i'w chael yn y Ganolfan Ieithoedd. Mae'r rhan ar gyfieithu yn fwy traddodiadol, ac mae rhoi hyfforddiant a phrofiad i'r myfyrwyr mewn cyfieithu darnau Cymraeg a Saesneg i Ffrangeg idiomatig, ac fel arall. Mae'r testunau'n dod o amryw o ffynonellau.

30 to 60 credits from:

  • WXM-3275: Diss.: Music in the Community (20) (Semester 1 + 2)
    The dissertation in Music in the Community is an independent piece of writing focusing on some area of music in the community. It may be the only dissertation you are writing, or it may be a second dissertation in a contrasting area to your longer main dissertation. The dissertation in Music in the Community may be a self-contained study focusing on a set topic (such as an aspect of music therapy), or it may involve a practical element, such as market research undertaken on behalf of an Arts Centre or Festival, with a view to producing a series of recommendations on policy. In many cases the project will follow on from skills learned or small-scale projects undertaken during one of the pre-requisite modules (Arts Administration and/or Music in the Community). The topic will be selected by the student in consultation with a member of staff and approved by the Board of Examiners in the normal manner. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous and current relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation.
  • WXM-3276: Dissertation (30) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
    or
    WXC-3276: Traethawd Hir (30) (Semester 1 + 2)
    Mae’r traethawd hir yn ddarn o ysgrifennu annibynnol ar destun a ddewisir gan yr ymgeisydd mewn ymgynghoriad ag aelod staff ac a gymeradwyir gan y Bwrdd Arholi. Mae’r dewis a’r cymeradwyo hwn yn digwydd yn ystod tymor yr haf yn union cyn Blwyddyn 3. Dylai’r ysgrifennu gymryd i ystyriaeth ymchwil flaenorol berthnasol, ond dylai ddangos gwreiddioldeb meddwl o ran dull ymdrin a dadl. Rhoddir credyd am ansawdd syniadau, eglurder a rhesymeg dadl, addasrwydd llyfryddiaeth a mireinder y cyflwyniad. I gyd-fynd â’r traethawd hir ceir seminarau ar y sgiliau ymchwil, llyfryddiaeth a methodoleg sydd eu hangen i ysgrifennu'r traethawd hir
    or
    WXC-3277: Traethawd Hir (40) (Semester 1 + 2)
    Mae'r traethawd hir yn ddarn o ysgrifennu annibynnol ar destun a ddewisir gan yr ymgeisydd mewn ymgynghoriad ag aelod staff ac a gymeradwyir gan yr Bwrdd Arholi. Mae'r dewis a'r cymeradwyo hwn yn digwydd yn ystod tymor yr haf yn union cyn Blwyddyn 3. Dylai'r ysgrifennu gymryd i ystyriaeth ymchwil flaenorol berthnasol, ond dylai ddangos gwreiddioldeb meddwl o ran dull ymdrin a dadl. Rhoddir credyd am ansawdd syniadau, eglurder a rhesymeg dadl, dull cyflwyno, addasrwydd llyfryddiaeth a mireinder y cyflwyniad. I gyd-fynd a'r traethawd hir ceir seminarau bob pythefnos lle bydd y myfyrwyr yn gweithio gyda thiwtoriaid y modiwl ar y sgiliau ymchwil, llyfryddiaeth a methodoleg sydd eu hangen i ysgrifennu'r traethawd hir
    or
    WXM-3277: Dissertation (40) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
  • WXM-3277: Dissertation (40) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
  • WXM-3282: Edition (30) (Semester 1 + 2)
    Participants of this module will prepare a critical edition of a suitable work from original sources or photographic reproductions of such sources. The work concerned will be selected by the candidate in consultation with a member of staff; the selection approved by the Board of Examiners, during the summer term of Year 2. The length of the work will depend upon various factors, including scoring, the number and complexity of sources, and the extent and degree of editorial intervention the materials demand; but in every instance full editorial apparatus will be required, including a detailed textual commentary. The edition should show awareness of previous editions of relevant music, but also demonstrate a capacity for solving specific editorial problems. Credit will be given for the quality of presentation as well as of editorial work. The project will be accompanied by seminars on the research, bibliography and methodology skills required for preparing the edition.
  • WXM-3283: Edition (40) (Semester 1 + 2)
    Participants of this module will prepare a critical edition of a suitable work from original sources or photographic reproductions of such sources. The work concerned will be selected by the candidate in consultation with a member of staff; the selection approved by the Board of Examiners, during the summer term of Year 2. The length of the work will depend upon various factors, including scoring, the number and complexity of sources, and the extent and degree of editorial intervention the materials demand; but in every instance full editorial apparatus will be required, including a detailed textual commentary. The edition should show awareness of previous editions of relevant music, but also demonstrate a capacity for solving specific editorial problems. Credit will be given for the quality of presentation as well as of editorial work. The project will be accompanied by seminars on the research, bibliography and methodology skills required for preparing the edition.
  • WXK-3288: Composition (project) (30) (Semester 1 + 2)
    The composition project is an opportunity for students to spend a sustained period engaged in compositional activity, working towards the production of a work, or works, of significant scale and duration. Students complete a composition or portfolio of compositions for any combination of instruments, voices, electroacoustic and studio resources, with the guidance of a supervisor. Project composers meet regularly as a group to consider broad issues and to share ideas and approaches. Compositions should demonstrate a thorough understanding of their genre, facility in the relevant technical skills, clarity of creative intent, and contemporary cultural relevance in their aesthetic approach. Compositions should be submitted in the form of a notated score, recording or a combination. If the work involves music for moving image, a DVD of music synchronised to picture must also be submitted. The piece or portfolio should normally be about 18 minutes in duration, by agreement with the supervisor, and depending on the tempo, the complexity of the music and the nature of the instrumental/vocal/ electroacoustic resources used. Portfolios may contain a mix of different genres. This module is not appropriate for students wishing to compose in historical or pastiche styles.
  • WXK-3289: Composition (project) (40) (Semester 1 + 2)
    The composition project is an opportunity for students to spend a sustained period engaged in compositional activity, working towards the production of a work, or works, of significant scale and duration. Students complete a composition or portfolio of compositions for any combination of instruments, voices, electroacoustic and studio resources, with the guidance of a supervisor. Project composers meet regularly as a group to consider broad issues and to share ideas and approaches. Compositions should demonstrate a thorough understanding of their genre, facility in the relevant technical skills, clarity of creative intent, and contemporary cultural relevance in their aesthetic approach. Compositions should be submitted in the form of a notated score, recording or a combination. If the work involves music for moving image, a DVD of music synchronised to picture must also be submitted. The piece or portfolio should normally be about 22 minutes in duration, by agreement with the supervisor, and depending on the tempo, the complexity of the music and the nature of the instrumental/vocal/ electroacoustic resources used. Portfolios may contain a mix of different genres. This module is not appropriate for students wishing to compose in historical or pastiche styles.
  • WXP-3297: Solo Performance Project (30) (Semester 1 + 2)
    Participants of the module will prepare and perform a public recital of 30 minutes’ duration, featuring stylistically-diverse solo repertoire from different periods. Individual instrumental or vocal tuition will be accompanied by seminars in which the students will work on advanced questions of repertoire, rehearsal strategies, performance practice and historically-informed performance. This module is capped at 15
    or
    WXC-3297: Project Perfformio Unawdol (30) (Semester 1 + 2)
    Bydd y rhai sy’n dilyn y modiwl yn paratoi a pherfformio datganiad cyhoeddus yn para am 30 munud, yn cynnwys repertoire unawdol mewn arddulliau amrywiol o gyfnodau gwahanol. Caiff myfyrwyr hyfforddiant offerynnol neu leisiol unigol ochr yn ochr â seminarau, lle bydd y myfyrwyr yn gweithio ar gwestiynau uwch ar repertoire, strategaethau ymarfer, ymarfer ar gyfer perfformio, a pherfformio dan ddylanwad hanesyddol. Dim ond 15 myfyriwr ar y modiwl yma
  • WXP-3298: Solo Performance Project (40) (Semester 1 + 2)
    Participants of the module will prepare and perform a public recital of 40 minutes’ duration, featuring stylistically-diverse solo repertoire from different periods. Individual instrumental or vocal tuition will be accompanied by seminars in which the students will work on advanced questions of repertoire, rehearsal strategies, performance practice and historically-informed performance. This module is capped at 15 students
    or
    WXC-3298: Project Perfformio Unawdol (40) (Semester 1 + 2)
    Bydd y rhai sy’n dilyn y modiwl yn paratoi a pherfformio datganiad cyhoeddus yn para am 40 munud, yn cynnwys repertoire unawdol mewn arddulliau amrywiol o gyfnodau gwahanol. Caiff myfyrwyr hyfforddiant offerynnol neu leisiol unigol ochr yn ochr â seminarau, lle bydd y myfyrwyr yn gweithio ar gwestiynau uwch ar repertoire, strategaethau ymarfer, ymarfer ar gyfer perfformio, a pherfformio dan ddylanwad hanesyddol. Dim ond 15 o fyfyrwyr ar y modiwl yma
  • All modules above are SPECIAL PROJECTS

Optional Modules

30 credits from:

  • LXE-3101: Approaching Translation (10) (Semester 2)
    This module aims to further develop and consolidate translation skills students have acquired in their language courses. By approaching translation as a process, it examines translation at different textual levels, from the lexico-grammatical level such as words and grammar, to the textual-pragmatic level such as cohesion, register and text types. It provides students with a framework to reflect on the translational difficulties in their chosen language pairs and explore strategies and their implications. Key texts Baker, Mona. In Other Words: A Coursebook on Translation, 2nd edition (London: Routledge, 2011). Hatim, Basil and Munday, Jeremy. Translation: an Advanced Resource Book (London: Routledge, 2004). Students will also require language specific resources such as a bilingual and monolingual dictionaries.
    or
    LCE-3101: Trin a Thrafod Cyfieithu (10) (Semester 2)
    Bwriad y modiwl hwn yw datblygu ac atgyfnerthu ymhellach sgiliau cyfieithu a enillwyd gan fyfyrwyr yn eu cyrsiau iaith. Trwy ystyried cyfieithu fel proses, mae'n craffu ar gyfieithu ar wahanol lefelau testunol, o lefel geiriau a gramadeg, i'r lefel destunol a phragmataidd sy'n ystyried cydlyniad, cywair a mathau o destun. Mae'n rhoi fframwaith i'r myfyrwyr i ystyried yr anawsterau cyfieithu yn y parau iaith a ddewiswyd ganddynt ac i ymchwilio i strategaethau a'u goblygiadau. Key texts Baker, Mona. In Other Words: A Coursebook on Translation, 2nd edition (London: Routledge, 2011). Hatim, Basil and Munday, Jeremy. Translation: an Advanced Resource Book (London: Routledge, 2004). Students will also require language specific resources such as a bilingual and monolingual dictionaries.
  • LXE-3102: Culture and the Body (10) (Semester 1)
  • LXF-3106: French Cinema since 1960 (20) (Semester 2)
    In chronological terms, this course follows on from module LXF2104 French Cinema 1895-1950. However, students who have not taken LXF2104 or have not previously studied cinema are more than welcome to take this module. This course will focus on French cinema from the New Wave period of the 1950s and 1960s to the new millennium. Through analysis of films by four different directors from four different decades, key cinematic trends will be identified, analysed and contextualized. Key trends / periods to be studied include 1950s/60s New Wave cinema, the "cinéma du look" of the 1980s, and the renewal of social and political cinema in France since 1995. This will expose students to key concepts in film studies and encourage critical reflection on how the range of techniques utilised by a director contribute to cinematic meaning. The films studied will be situated both in relation to cinematic and political trends contemporary to their production. Key texts Austin, Guy. 1996. Contemporary French Cinema: An Introduction . (Manchester and New York: Manchester University Press). Ezra, Elizabeth. 2004. European Cinema (Oxford and New York: Oxford University Press). Hayward, Susan. 2005 (or 1993). French National Cinema, (London and New York: Routledge). This book is available on the library website as an e-book: click here. Hayward , Susan and Ginette Vincendeau (eds.). 2002. French Film: Texts and Contexts (London and New York: Routledge). Hjort, Mette and Scott Mackenzie. 2000. Cinema and Nation (London and New York: Routledge). See chs. 4-7, esp. Ch.6 on 'Framing National Cinemas' by Susan Hayward. This book is available via the library website as an e-book: click here. Kline, T. Jefferson. 2010. Unravelling French Cinema (Oxford: Wiley-Blackwell). Available as an e-book via the Bangor University website: http://www.bangor.eblib.com/patron/FullRecord.aspx?p=485677. Powrie, Phil (ed.). 1999. French cinema in the 1990s : continuity and difference (Oxford: Oxford University Press). Powrie, Phil and Keith Reader (eds.). 2002. French Cinema: A Student's Guide (London: Arnold). See esp. pp. 3-53. This book is available on the library website as an e-book: click here. Any other learning resources The core films studied are Jean-Luc Godard's A Bout de souffle (1960), Jean-Luc Godard's Week-end (1967), Claude Chabrol's Le Boucher (1970), Luc Besson's Subway, Jacques Martineau and Olivier Ducastel's Drôle de Félix (1999) and Nicolas Philibert's Etre et avoir (2002) and Michel Haznavicius' The Artist (2011).
  • LZF-3110: Joint Hon. French Dissertation (10) (Semester 1 + 2)
    This module will give students the opportunity of working on something as part of their degree course which is not already a specific component of the syllabus and develop independent study skills and research skills during their semester abroad. Through this course students will enhance their study skills and academic writing techniques. This module is intended as a foundation for the kind of writing requested at postgraduate level. Key texts Key texts to use for single and joint honours dissertations depend entirely on the topic chosen. Any other learning resources Students are required to complete ‘Disseration Skills Preparation’ activities on Blackboard. These take the form of short tutorials followed by multiple choice quizzes that aim to test understanding of the following issues: evaluating information, plagiarism, referencing, style and presentation.
    or
    LCF-3110: Traethawd hir Ffrangeg (CA) (10) (Semester 1 + 2)
    Bydd y modiwl hwn yn rhoi profiad i fyfyrwyr o weithio fel rhan o'u cwrs gradd ar rywbeth nad yw eisoes yn elfen benodol o'r maes llafur a datblygu sgiliau astudio annibynnol a sgiliau ymchwil yn ystod eu semester dramor. Trwy'r cwrs hwn bydd myfyrwyr yn gwella eu sgiliau astudio a'u technegau ysgrifennu academaidd. Bwriad y modiwl hwn yw darparu sail ar gyfer y math o ysgrifennu sy'n ofynnol ar lefel ôl-raddedig. Key texts Key texts to use for single and joint honours dissertations depend entirely on the topic chosen. Any other learning resources Students are required to complete ‘Disseration Skills Preparation’ activities on Blackboard. These take the form of short tutorials followed by multiple choice quizzes that aim to test understanding of the following issues: evaluating information, plagiarism, referencing, style and presentation.
  • LXF-3111: French Travel (20) (Semester 1)
    This module examines changing conceptions and practices of travel and engages students in analysis of some of the core tropes in approaches to travel and travel writing. Students will engage with the travel writing of a range of authors from the Renaissance to the present and with a variety of geographical locations in order to trace developments in the epistemologies and ontologies of travel. The course will begin by asking what we mean by the term ‘travel’, exploring critical thinking around the differences between, for example, tourism and migration. The module’s introductory phase will demonstrate the importance of travel in constructing categories of knowledge and narratives of identity before moving, in the weeks that follow, to look at issues of interpretation, examining through close reading how travellers frame their encounter with otherness, and how the travel encounter might become a means of disrupting such discursive frameworks. Key areas for investigation include the role played by travel writing in establishing structures of cultural hierarchy and resistance; the relationship between travel writing and various kinds of nationalisms; how travel writing informs global networks of modern capitalism; how travel writing constructs as well as calls into question gendered subjects and subjectivities; and, finally, the traffic between travel writing and other genres and media such as fiction, film and photography. Key texts A set of six core texts is drawn from the following authors’ work: Claude Lévi-Strauss, Simone de Beauvoir, Jean-Paul Sartre, André Gide, Georges Perec, Roland Barthes, Michel Butor, Jean Baudrillard, Marc Augé and Michel de Certeau. Students are provided with copies of the relevant extracts / articles as part of a module dossier. See list of extracts / articles mentioned in module documentation printed from the Gazette. Main secondary reading: Chris Bongie, Exotic Memories: Literature, Colonialism, and the Fin de Siècle (Stanford: Stanford University Press, 1991) Michel de Certeau ([1980] 1990) L’Invention du quotidien, vol. 1: Arts de faire (Paris : Folio, 1980) [HN8 .C43 1990 v.1] Umberto Eco, Faith in Fakes: Travels in hyperreality (London: Minerva, 1995) Charles Forsdick, Ludmilla Kostova and Corinne Fowler (eds) Travel Writing and Ethics: Theory and Practice (London: Routledge, 2012) Charles Forsdick, Travel in Twentieth-Century French and Francophone Cultures: The Persistence of Diversity (Oxford: OUP, 2005) Charles Forsdick and David Murphy (eds), Francophone Postcolonial Studies: A Critical Introduction (London: Arnold, 2003) Clifford Geertz, Works and Lives: The Anthropologist as Author (Cambridge: Polity, 1988) Peter Holland and Graham Huggan, Tourists with Typewriters: critical reflections on contemporary travel writing (Ann Arbor: University of Michigan Press, 1998 Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (London: Routledge, [1992] 2008) [D34.L29 P73 2008] Edward W. Said, Orientalism (Harmondsworth: Penguin, 1995) Michael Sheringham, Everyday Life: Theories and Practices from Surrealism to the Present (Oxford: OUP, 2009) Guillaume Thouroude, ‘Towards generic autonomy: the récit de voyage as mode, genre and form’, Studies in Travel Writing, 13:4 (2009), 381-390 C.W. Thompson, French Romantic Travel Writing: Chateaubriand to Nerval (Oxford: OUP, 2012)
  • LXF-3112: Bande Dessinee & Adaptation (20) (Semester 1)
    Topics to be covered in this module include: history of bande dessinée and the status of the medium in contemporary Francophone culture; how to analyse bande dessinée; key concepts in adaptation studies; case study 1: adaptation of a cultural myth; case study 2: autobioBD / autographics and the intertwining of the private and political; case study 3: adaptation from bande dessinée to animation; case study 4: post-colonialism and bande dessinée adaptation: Algeria; case study 5: post-colonialism and bande dessinée adaptation: Brittany. Key texts Primary texts and film: Peter Pan (Régis Loisel) Persépolis (Marjane Satrapi) Persépolis (Marjane Satrapi and Vincent Paronnaud) [film] L’étranger (Jaques Ferrandez, adapted from Albert Camus) Histoires de Bretagne (Collective, adapted from Anatole Le Braz) Recommended reading material : Ann Miller, Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip Laurence Grove, Comics in French: The European Bande Dessinée in Context Linda Hutcheon, A Theory of Adaptation Julie Sanders, Adaptation & Appropriation
  • LXF-3113: French Dissertation (JH Eng) (10) (Semester 1 + 2) or
    LCF-3113: French Dissertation (JH Welsh) (10) (Semester 1 + 2)
  • LXE-3210: Press Dossier (10) (10) (Semester 1)
    This module provides students with the opportunity to examine a topical issue relevant to one or more countries/regions in which the target language is spoken. The chosen issue will be examined through the prism of the press and media, in order to develop an understanding not only of the specific issue in question, but also of the media landscape of the relevant society. The resulting dossier will comprise the analysis of contrasting media and press types in their coverage of the chosen topic, as well as an assessment of their importance in influencing public opinion. The dossier will be written in the target language, and should contain an appendix of materials which have been examined. Busà, M. Grazia, Introducing the Language of the News: a Student's Guide (London: Routledge, 2014) Stevenson, Nick, Understanding Media Cultures: Social Theory and Mass Communication (London; Thousand Oaks: Sage, 1995) Harrison, Martin, TV news, Whose Bias? : a Casebook Analysis of Strikes, Television and Media Studies (Hermitage, Berks.: Policy Journals, 1985) Stocchetti Matteo and Karin Kukkonen, Critical Media Analysis: an Introduction for Media Professionals (Frankfurt am Main ; New York: Peter Lang, 2011) Van Dijk, Teun A., Discourse and Communication: New Approaches to the Analysis of Mass Media Discourse and Communication (Berlin; New York: W. de Gruyter, 1985) Websites: This section of SMLC website lists some of the major newspaper, TV and radio sites in German, French, Spanish and Italian media: http://www.bangor.ac.uk/ml/uglinks.php
    or
    LCE-3210: Astudio'r Cyfryngau (S1) (10) (Semester 1)
    Mae'r modiwl hwn yn rhoi cyfle i fyfyrwyr astudio pwnc cyfoes sy'n berthnasol i un neu fwy o wledydd/rhanbarthau lle y siaredir yr iaith darged. Gwyntyllir y pwnc a ddewisir drwy brism y wasg a'r cyfryngau, er mwyn magu dealltwriaeth o'r pwnc penodol ond hefyd o'r cyhoeddiadau a chyfryngau sydd ar gael yn y gymdeithas dan sylw. Bydd yr adroddiad terfynol yn cynnwys dadansoddiad o sut y mae mathau cyferbyniol o gyhoeddiadau a chyfryngau yn ymdrin â'r pwnc, yn ogystal ag asesiad o'u pwysigrwydd wrth ddylanwadu ar farn y cyhoedd. Ysgrifennir yr adroddiad yn yr iaith darged, ac atodir y deunyddiau a drafodir wrtho. Busà, M. Grazia, Introducing the Language of the News: a Student's Guide (London: Routledge, 2014) Stevenson, Nick, Understanding Media Cultures: Social Theory and Mass Communication (London; Thousand Oaks: Sage, 1995) Harrison, Martin, TV news, Whose Bias? : a Casebook Analysis of Strikes, Television and Media Studies (Hermitage, Berks.: Policy Journals, 1985) Stocchetti Matteo and Karin Kukkonen, Critical Media Analysis: an Introduction for Media Professionals (Frankfurt am Main ; New York: Peter Lang, 2011) Van Dijk, Teun A., Discourse and Communication: New Approaches to the Analysis of Mass Media Discourse and Communication (Berlin; New York: W. de Gruyter, 1985) Websites: This section of SMLC website lists some of the major newspaper, TV and radio sites in German, French, Spanish and Italian media: http://www.bangor.ac.uk/ml/uglinks.php
  • LCF-3301: Ymerodraethau Prydain+Ffrainc (20) (Semester 1)
    Yn y modiwl hwn, bydd myfyrwyr yn astudio effaith imperialaeth ar ddiwylliant a chymdeithas Ffrainc a Phrydain, gan ganolbwyntio hefyd ar effaith ymerodraeth ar Gymru. Byddwn yn astudio sawl pwnc, gan gynnwys y berthynas rhwng gwladychu a choloneiddio; cymunedau Cymraeg ar draws yr Ymerodraeth Brydeinig, perthnasau rhwng Ffrainc imperialaidd a’r trefedigaethau, portreadu’r ‘ymerodraeth’, dadwladychu, cofio’r ymderodraeth ac hunaniaeth ôl-wladychol. Aldrich, R., Greater France: a History of French Overseas Expansion (1996). Betts, R., Tricouleur: the French Overseas Empire (1977) Betts, R., Assimilation and Association in French Colonial Theory (2005). Betts, R., France and Decolonization (London: Macmillan, 1991).Brunschwig, H., Mythes et réalités de l’impérialisme colonial français 1871-1914 (Paris: Armand Colin, 1960).Clay Sorum, P., Intellectuals and Decolonization in France (1977). Constantine, Stephen ed., Emigrants and Empire: British Settlement in the Dominions Between the Wars (Manchester, 1990) Cooper N., ‘French Colonial Thought’ An Encyclopedia of French Thought (2004) Conklin, A Mision to Civilize: the Republican Idea of Empire in France and West Africa (1997). Evans, M., (ed) Empire and Culture: The French Experience, 1830-1940, (2004). Fanon, F., The Wretched of the Earth (2001). Johnston, W. Ross ‘The Welsh Diaspora: Emigrating around the World in the Late Nineteenth Century,’ Llafur Cyf. 6, Rhif 2 (1993) 50-74 Jones, Aled and Jones, Bill, 'The Welsh World and the British Empire, c.1851-1939: An Exploration', Journal of Imperial and Commonwealth History, Cyf.31 Rhif 2 (Mai 2003) 57-81 (available online on http://www.tandfonline.com/doi/pdf/10.1080/03086530310001705606 ) Jones, Bill, 'Cymry "Gwlad yr Aur": Ymfudwyr Cymreig yn Ballarat, Awstralia, yn ail hanner y bedwaredd ganrif ar bymtheg', Llafur, Cyf. 8 Rhif 2 (2001) Gethin Matthews, ‘“Y Dynion Mwyaf Diniwed ar Wyneb y Greadigaeth” – Y Cymry a Brodorion Columbia Brydeinig’, Y Traethodydd (Gorffennaf 2009) 147-156 Naylor, P., France and Algeria: a history of Decolonization and Transformation (Florida: UPF, 200). The Oxford History of the British Empire, pum cyfrol, yn enwedig cyfrol 3 (The Nineteenth Century) a chyfrol 4 (The Twentieth Century) Wagstaff, P., and Scriven, M., War and Society in Twentieth Century France (1991).
  • Joint Hons. Students may only take ONE LXE module

0 to 30 credits from:

  • Genre/Comp Studies Sem 1
  • WXM-3012: Music Revivals (10) (Semester 1)
    1. A number of selected case studies of music revival in the will form the basis of the module. 2. The music revivals studied will be drawn from classical, folk, and popular traditions. 3. Each revival will be examined in its historical and cultural context. 4. Current critical and theoretical perspectives on the issues of music revival will be presented and discussed. 5. Issues of cultural nationalism, contrasting preservationist and modernist ideologies, and the inevitable nature of transformation inherent in music revival will be examined in detail, as well as the impact of these on the music itself.
  • WXM-3016: Ancient Mexican Music (10) (Semester 1)
  • WXC-3154: Wagner (Cymraeg) (10) (Semester 1) or
    WXM-3154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
  • WXM-3176: The Music of Michael Nyman (10) (Semester 1)
    : Nyman's rise to international prominence during the past three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its ‘parasitic’ borrowing of other composers' ideas and for its relentless self-borrowing. In this course, I will attempt to address these issues by placing Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism in order to develop a series of useful areas from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory, I will introduce concepts relating to appropriation and borrowing within the context of twentieth-century art music and theory. I will then explain and define intertextuality, before placing Nyman's musical language in relation to a series of classifications and types. These types will form the basis of more in-depth studies of certain works during the second half of the course, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, provides his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of aesthetic and expressive forms. Nyman composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them.
    or
    WXC-3176: Cerddoriaeth Michael Nyman (10) (Semester 1)
    Wrth iddo ennill enwogrwydd yn rhyngwladol yn ystod y tair degawd ddiwethaf, mae Nyman wedi dod yn un o gyfansoddwyr mwyaf llwyddiannus y byd o blith y rhai sy’n dal yn fyw. Serch hynny, mae ei gerddoriaeth wedi’i beirniadu am fenthyca’n barasitig o syniadau cyfnasoddwyr eraill ac am fenthyca oddi wrthi ei hun yn ddidrugaredd. Ar y modiwl hwn, eir ati i roi sylw i’r materion hyn, gan osod gweithiau Nyman o fewn cyd-destun cyffredinol cerddoriaeth arbrofol Eingl-Ameiricanaidd, minimaliaeth ac ôl-finimaliaeth, mewn ymgais i ddatblygu cyfres o ddulliau buddiol o ddeall a gwerthfawrogi ieithwedd gerddorol Nyman. Gan dynnu ar dermau y mae theori ryng-destunol yn sail iddynt, cyflwynir cysyniadau yn ymwneud â meddiannu a bnthuca o fewn cyd-destun cerddoriaeth gelfyddydol a theori’r 20fed ganrif. Yna, bwriedir egluro a diffinio rhyng-destunedd, cyn gosod iaith gerddorol Nyman yng nghyswllt cyfres o ddosbarthiadau a mathau. Yna, daw’r mathau hyn yn sail ar gyfer mwy o astudiaethau manwl ar rai gweithiau penodol yn ystod ail hanner y modiwl, gan amrywio o opera a cherddoriaeth siambr i gerddoriaeth ffilm. Yn hytrach na chyfyngu arddull a thechneg, mae dull rhyng-destunol Nyman, i’r gwrthwyneb, yn rhoi i’r gerddoriaeth amrywiaeth a hyblygrwydd sydd bron yn ddi-ben-draw, ac mae hynny wedi’i ddefnyddio i gyfleu ystod eang o ffurfiau esthetig a mynegiannol. Cyfansodda Nyman gyda’i glust tua’r gorffennol fel petae’n chwarel gyfoethog i’w chloddio, yn gweithio fel archaeolegydd cerdd, gan ddatguddio arteffactau a chreu delweddau cerddorol deinamig allan ohonynt.
  • WXM-3198: Handel (10) (Semester 1)
    George Frideric Handel was one of the most important composers of the late Baroque era. However, since the nineteenth century his reputation has largely rested on a relatively small number of works, particularly among concert-going audiences and non-specialists; he is perhaps best known for large-scale dramatic works such as Messiah and orchestral works such as the Water Music. In fact, Handel composed in almost every instrumental and vocal genre of his day. He was essentially a conservative composer, but one whose genius was acknowledged and revered by contemporaries; he was one of the first composers to have his biography written (1760) and his birth marked by centennial celebrations (1784); he was also one of the first composers of whom a collected works was attempted (1787-97). Unlike Bach, Handel’s music never fell out of the repertoire and thus played a significant part in the historical development of the musical ‘canon’; moreover, his works have also played an important role in the historical performance movement of the late twentieth century.
  • WXC-3215: Cerdd Cymru 18 a 19 ganrif (10) (Semester 1)
    Er amled y cyfeiriadau ar hyd y canrifoedd at Gymru fel ‘Gwlad y gân’, dim ond yn ddiweddar iawn y rhoddwyd y sylw dyladwy i faes Cerddoriaeth yng Nghymru fel rhan o gwrs gradd (Cerddoriaeth). Gwelwyd tuedd gyffredinol ymhlith cerddorion proffesiynol y gorffennol i anwybyddu’r traddodiad ar draul derbyn agweddau ar gerddoriaeth gwledydd estron. I’r perwyl hwn, fe adawyd bylchau mawr yn ein llenyddiaeth gerddorol fel cenedl, dibrisiwyd gwerth nifer o’n traddodiadau a chollwyd golwg ar rai nodweddion unigryw Cymru a’i phobl. Cwrs rhagarweiniol yw hwn, ac astudir cerddoriaeth Cymru’r 18fed a’r 19eg ganrif o safbwynt hanesyddol, cymdeithasol a diwylliannol. Rhoddir sylw i faes casglu a chofnodi cerddoriaeth, llawysgrifau cerddorol, cerddoriaeth y delyn, canu gwerin, cerddoriaeth gysegredig a seciwlar, arloeswyr cerddorol y cyfnod a’r traddodiad corawl.

0 to 30 credits from:

  • Genre/Comp Studies Sem 2
  • WXM-3013: Post-War British Opera (10) (Semester 2)
    This module will begin with a focus on Britten and Tippett’s major contributions to the genre, and subsequent lectures will examine the ways in which British composers have explored different categories of opera. Many composers, for instance, have been drawn to chamber and/or comic opera, with Elizabeth Maconchy’s The Sofa (1956-57) and Grace Williams’s The Parlour (1960-66) as notable examples. During the 1960s, British musical life was vitalised by the expressivist theatricality of music theatre works by Alexander Goehr, Harrison Birtwistle and Peter Maxwell Davies, and these composers continued to enrich the operatic genre in subsequent years. The series will conclude by examining a selection of later, full-scale opera including William Mathias’s The Servants (1980) and Judith Weir’s A Night at the Chinese Opera (1987).
  • WXC-3160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
    or
    WXM-3160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.

0 to 30 credits from:

  • Other Modules
  • WXM-3186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXM-3187: Music, Health and Wellbeing A (10) (Semester 1) or
    WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-3191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.) Pre-requisites: Satisfactory completion of Year 1 Music (single or joint honours), or satisfactory completion of Year 1 English with Songwriting. It is assumed that students will be able to record or computer-notate their own songs to a good standard for this module; therefore it is recommended that they have completed a music technology module or equivalent. For recordings ‘good’ means that the sounds are distortion-free, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet, and preferably computer-notated. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.
  • WXM-3201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-3205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental from the ninth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score and others in parts; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the module is divided into two halves, which will focus on different skills: Semester 1 (Dr Cunningham): ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’. Semester 2: Introduction to the medieval and early Renaissance notation and editing.
  • WXM-3221: Intro to Arts Administration (10) (Semester 1)
    This module offers students the opportunity to achieve a degree of working knowledge – both theoretical and practical – in the field of arts administration by means of a variety of activities concerning many types of organisations devoted in some way or another to the arts. Topics will include: planning a major artistic event (e.g. concert series, festival); developing audiences for the arts; artist promotion; marketing arts events; fundraising, sponsorship and grant applications; developing an artistic and financial strategy. Skills to be developed will include: coherent programming;the design and production of promotional materials; writing press releases and funding applications; problem-solving for arts institutions and organisations.
  • WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
    or
    WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
  • WXK-3234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques . Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233 or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
  • WXK-3235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)
  • WXP-3243: Advanced Ensemble Performance1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3244: Advanced Ensemble Performance2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3249: Conducting (10) (Semester 2)
    This module will equip students with the essential skills for conducting and rehearsing, and related musical and organisational skills. Work will be mostly practical and will include study of gesture, beating time, the detailed preparation of a score, rehearsal technique, and psychological skills required by a conductor.
  • WXP-3253: Fusion Ensemble 1 (10) (Semester 1)
  • WXP-3254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-3268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-3270: Music Teaching in Context (20) (Semester 1 + 2)
  • WXP-3301: Teaching Singing (10) (Semester 2)
    • Vocal anatomy • Breathing, posture and support • Vowel shaping and tuning • Articulation and diction • Production of sound • Flexibility, range extension • Register blending and passaggio, repertoire selection
  • WXM-3302: Fugue (10) (Semester 1)
    Fugue, in one form or another, has been a prominent aspect of Western art music since the late Middle Ages. It can perhaps best be described as a contrapuntal compositional procedure, in two or more voices, in which a short theme (the subject) is introduced in imitation (based on tonal principles); this subject then recurs throughout the rest of the composition. Fugues typically have three sections, using terminology shared with sonata-form: exposition, development, recapitulation. Fugue is not a fixed form, however: it is best understood as a compositional procedure. By the end of the 17th century, fugue was widely regarded as the fullest expression of imitative polyphony. The fugues of Johann Sebastian Bach (1685–1750) represent the apex of the style, particularly his Die Kunst der Fuge (The Art of Fugue). The status of the fugue waned in the late 18th century, though we still find it cultivated in the works of Haydn, Mozart and Beethoven. This module will examine theories about fugue and its characteristics; the primary musical focus will be on the fugal style of JS Bach. Students will learn how to analyse and assess fugal compositions, and learn how to compose a fugal exposition.

0 to 30 credits from:

  • Other Modules
  • WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXM-3186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXM-3187: Music, Health and Wellbeing A (10) (Semester 1) or
    WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-3191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.) Pre-requisites: Satisfactory completion of Year 1 Music (single or joint honours), or satisfactory completion of Year 1 English with Songwriting. It is assumed that students will be able to record or computer-notate their own songs to a good standard for this module; therefore it is recommended that they have completed a music technology module or equivalent. For recordings ‘good’ means that the sounds are distortion-free, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet, and preferably computer-notated. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.
  • WXM-3201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-3205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental from the ninth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score and others in parts; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the module is divided into two halves, which will focus on different skills: Semester 1 (Dr Cunningham): ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’. Semester 2: Introduction to the medieval and early Renaissance notation and editing.
  • WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
    or
    WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
  • WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
    or
    WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
  • WXK-3234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques . Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233 or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
  • WXK-3235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)
  • WXP-3243: Advanced Ensemble Performance1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3244: Advanced Ensemble Performance2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3249: Conducting (10) (Semester 2)
    This module will equip students with the essential skills for conducting and rehearsing, and related musical and organisational skills. Work will be mostly practical and will include study of gesture, beating time, the detailed preparation of a score, rehearsal technique, and psychological skills required by a conductor.
  • WXP-3253: Fusion Ensemble 1 (10) (Semester 1)
  • WXP-3254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-3268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-3270: Music Teaching in Context (20) (Semester 1 + 2)
  • WXP-3301: Teaching Singing (10) (Semester 2)
    • Vocal anatomy • Breathing, posture and support • Vowel shaping and tuning • Articulation and diction • Production of sound • Flexibility, range extension • Register blending and passaggio, repertoire selection
  • WXM-3302: Fugue (10) (Semester 1)
    Fugue, in one form or another, has been a prominent aspect of Western art music since the late Middle Ages. It can perhaps best be described as a contrapuntal compositional procedure, in two or more voices, in which a short theme (the subject) is introduced in imitation (based on tonal principles); this subject then recurs throughout the rest of the composition. Fugues typically have three sections, using terminology shared with sonata-form: exposition, development, recapitulation. Fugue is not a fixed form, however: it is best understood as a compositional procedure. By the end of the 17th century, fugue was widely regarded as the fullest expression of imitative polyphony. The fugues of Johann Sebastian Bach (1685–1750) represent the apex of the style, particularly his Die Kunst der Fuge (The Art of Fugue). The status of the fugue waned in the late 18th century, though we still find it cultivated in the works of Haydn, Mozart and Beethoven. This module will examine theories about fugue and its characteristics; the primary musical focus will be on the fugal style of JS Bach. Students will learn how to analyse and assess fugal compositions, and learn how to compose a fugal exposition.