Modules for course WV33 | BA/MHIE
Music & Hist & Welsh Hist (IE)

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.
  • HCH-1050: The Past Unwrapped (20)
    1. Introduction: From Past to Present: Some ideas on how to make the best of your existing skills as you move to university-level study. Learn some of the basics of studying History and/or Archaeology at Bangor. 2. Library skills and making intelligent use of the web: Looking at what to expect in the university library, how to use reading lists, how much to read and what to do with all those electronic resources at your disposal. 3. From chaos to order: organisation and note-taking. How to plan and organise your work, and how to make wise decisions when taking notes from books, articles and lectures. 4. Avoiding plagiarism: Learn why cutting and pasting from the web is bad practice, and why academic misconduct is treated very seriously. Learn as well how to avoid this by referencing effectively i.e. using evidence, footnotes and compiling solid bibliographies. 5. Essays and making a good (grammatical) impression: Understand what the essay question actually wants you to do, how to structure your work, and how to develop an argument. Gain insight into some of the common errors in History and Archaeology essays, and see why good spelling and punctuation are crucial. 6. Historiography: How to make sense of all these academics saying different things and disagreeing with each other. What are the differences (and similarities) between ‘academic’ and ‘popular’ history? 7. Analysis and critical thinking: Or, how to move beyond just describing the past. Understand what your tutor means by telling you to be more critical. 8. Make your voice heard: competent communication: Understand why it’s important for you to communicate your ideas clearly, and how you can prepare effectively for presentations. 9. Documents and sources: Learn how historians use different types of documents and artefacts, and explore how you can analyse them yourself. 10. Far-reaching feedback: What is the purpose of feedback, and how are different types of assignments marked? Learn that you need to look beyond your mark to improve your work. 11. Exam technique: How to keep it together in exams, and how to deduce what exam questions actually want you to do.
    or
    HCC-1050: Dechrau o'r Dechrau (20)
    1. Rhagarweiniad: O'r Gorffennol i'r Presennol: Rhai syniadau ar sut i wneud y defnydd gorau o'ch sgiliau presennol wrth i chi symud ymlaen i astudio ar lefel prifysgol. Dysgu rhai o egwyddorion sylfaenol astudio Hanes ac/neu Archaeoleg ym Mangor. 2. Sgiliau llyfrgell a defnyddio'r we yn ddeallus: Edrych ar yr hyn y dylech ei ddisgwyl yn llyfrgell y brifysgol, sut i ddefnyddio rhestrau darllen, faint i'w ddarllen a beth i'w wneud gyda'r holl adnoddau electroneg hynny sydd ar gael i chi. 3. O anrhefn i drefn: rhoi trefn ar bethau a chymryd nodiadau. Sut i gynllunio a threfnu eich gwaith, a sut i wneud penderfyniadau doeth wrth gymryd nodiadau o lyfrau, erthyglau a darlithoedd. 4. Osgoi llên-ladrad: Dysgu sut mae torri a phastio deunydd o'r we yn ffordd wael iawn o weithio a pham mae camymddwyn academaidd yn cael ei drin fel mater difrifol iawn. Dysgu'n ogystal sut i osgoi hyn drwy gyfeirnodi effeithiol, h.y. defnyddio tystiolaeth, troednodiadau a llunio llyfryddiaethau cadarn. 5. Traethodau a gwneud argraff (ramadegol) dda: Deall beth yn union mae cwestiwn y traethawd eisiau i chi ei wneud, sut i drefnu eich gwaith a sut i ddatblygu dadl. Cael golwg ar rai camgymeriadau cyffredin mewn traethodau Hanes ac Archaeoleg a gweld pam fod sillafu da ac atalnodi yn allweddol. 6. Hanesyddiaeth: Sut i wneud synnwyr o'r holl academyddion hyn yn dweud pethau gwahanol ac anghytuno â'i gilydd. Beth yw'r gwahaniaethau (a'r tebygrwydd) rhwng hanes 'academaidd' a 'phoblogaidd'? 7. Dadansoddi a meddwl yn feirniadol: Neu, sut i fynd ymhellach na dim ond disgrifio'r gorffennol. Deall beth mae eich tiwtor yn ei olygu pan fydd yn dweud wrthych am fod yn fwy beirniadol. 8. Cyfle i ddweud eich dweud: cyfathrebu medrus: Deall pam mae'n bwysig i chi gyfathrebu eich syniadau'n glir, a sut y gellwch baratoi'n effeithiol at gyflwyniadau. 9. Dogfennau a ffynonellau: Dysgu sut mae haneswyr yn defnyddio gwahanol fathau o ddogfennau ac arteffactau ac edrych sut y gellwch eu dadansoddi eich hun. 10. Adborth (sylwadau) pellgyrhaeddol: Beth yw diben adborth (sylwadau ar eich gwaith), a sut y caiff mathau gwahanol o aseiniadau eu marcio? Dysgu bod angen i chi edrych y tu hwnt i'ch marc i wella eich gwaith. 11. Sut i weithredu mewn arholiadau: Sut i beidio â chynhyrfu a gwneud yn dda mewn arholiadau, a gweld beth yn union mae cwestiynau arholiad yn gofyn i chi ei wneud.

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.

Optional Modules

40 credits from:

  • HXH-1002: Birth of Modern Europe (20) (Semester 2)
    The Renaissance; state formation; multiple monarchies (Valois France, the Habsburg Dominions, centre and peripheries in Britain and Ireland); the Reformation in Britain and on the Continent.
    or
    HXC-1003: Genedigaeth yr Ewrop Fodern (20) (Semester 2)
  • HXH-1004: Intro Modern History1815-1914 (20) (Semester 1)
    This module provides an introduction to nineteenth-century history, in particular: - Key events and dates - The political geography of Europe - Industrial Revolutions - Workers - Workers’ Political Movements - Middle Classes - Liberalism and Conservatism - Elites - Revolutions - Nationalism and Nation States - The Disintegration of Multinational Empires - War and Diplomacy - Imperialism It also provides an introduction to basic study skills, in particular: - The Library - Planning, Literature Search, Bibliography - Essay Writing - References, Footnotes, Plagiarism
    or
    HXC-1004: Cyflwyniad Hanes Modern (20) (Semester 1)
    Bydd y modiwl hwn yn rhoi arweiniad i hanes y bedwaredd ganrif ar bymtheg, yn arbennig: - y chwyldro amaethyddol a’r chwyldro diwydiannol - yr elit a’r dosbarth canol - Rhyddfrydiaeth a Cheidwadaeth - gweithwyr a'r werin - mudiadau gwleidyddol gweithwyr - chwyldroadau - cenedlaetholdeb a hunaniaeth genedlaethol - rhyfel a diplomyddiaeth - Imperialaeth
  • HXW-1007: Wales: Princes to Tudors (20) (Semester 1)
    Wales in the age of Owain Gwynedd and Lord Rhys; Gerald of Wales; rise of Llywelyn ap Iorwerth in Gwynedd and over much of the rest of Wales; the reign of Dafydd ap Llywelyn and succession to Gwynedd; the hegemony and downfall of Llywelyn ap Gruffudd, prince of Wales; poetry and history writing in medieval Wales; Welsh political aspirations in l4th century; Owain Glyndŵr and his movement; Brutus, 1485 and political prophecy; Wales and the Reformation; Wales and the Renaissance; Wales and 16th-century politics – the Acts of Union.
    or
    HXC-1007: Cymru: Tywysogion i Duduriaid (20) (Semester 1)
    Oes Owain Gwynedd a'r Arglwydd Rhys; Gerallt Gymro; Llywelyn ap Iorwerth (m. 1240) a'i feibion; Penarglwyddiaeth a chwymp Llywelyn ap Gruffudd, Tywysog Cymru (m. 1282); barddoniaeth a hanes yn yr Oesoedd Canol; dyheadau gwleidyddol Cymreig yn y bedwaredd ganrif ar ddeg; mudiad Glyndwr; Brutus, 1485 a'r traddodiad proffwydol; Cymru a'r Diwygiad Protestannaidd; Cymru a'r Dadeni; Cymru a gwleidyddiaeth yr unfed ganrif ar bymtheg - y Deddfau Uno.
  • HXH-1009: War, Society and the Media (20) (Semester 2) or
    HXC-1009: Rhyfel, Cymdeithas, Cyfryngau (20) (Semester 2)
  • HXW-1010: Wales since 1789 (20) (Semester 2) or
    HXC-1006: Cymru yn y Byd Modern (20) (Semester 2)
    Wythnos 1: Darlith: Deall Cymru fodern ac amcanion y modiwl Dim seminar Wythnos 2: Darlith: Meithrin Cymru fodern (i): Diwydiant ac economi Seminar: Siartiaeth a Beca Wythnos 3: Darlith: Meithrin Cymru fodern (ii): Trosedd, cosb a moesoldeb Seminar: Y Gymru fywgraffiadol: David Lloyd George fel astudiaeth achos Wythnos 4: Darlith: Themâu (i): Mewnfudo ac allfudo Seminar: Mewnfudo Wythnos 5: Darlith: Themâu (ii): Iaith, addysg a chrefydd yn y 19eg ganrif Seminar: Cenedlaetholdeb, Tynged yr Iaith Wythnos 6: Darlith: Themâu (iii): Effaith y ddau ryfel byd Seminar: Y Gymru Lafurol Gweithdy: Eidalwyr yng Nghymru Wythnos 7: WYTHNOS DDARLLEN Wythnos 8: Darlith: Themâu (iv): Merched a llunio Cymru fodern Seminar: Cerddoriaeth boblogaidd Wythnos 9: Darlith: Themâu (v): Diwylliant poblogaidd a newid cymdeithasol Seminar: Merched mewn llenyddiaeth Gymreig Wythnos 10: Darlith: Themâu (vi): Chwaraeon a hunaniaeth Seminar: Hunaniaeth Wythnos 11: Darlith: Materion (i): Y frwydr am hunan-reolaeth Seminar: Y Cwestiwn Cenedlaethol Wythnos 12: Darlith: Materion (ii): Creu Cymru newydd? Seminar: Sesiwn adolygu
  • HXH-1011: Europe in the High Middle Ages (20) (Semester 1) or
    HXC-1011: Ewrop yn y Canol Oesoedd Uchel (20) (Semester 1)
  • Students are encouraged to select modules that cover more than one of the generally recognised periods of History (Medieval, Early Modern and Modern).

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

Optional Modules

60 credits from:

  • HGW-2003: Re-igniting the Dragon (20) (Semester 1)
  • HCH-2050: Debating History (20) (Semester 1)
    The first part of the course is concerned with the use of the past made by historians and commentators such as politicians, the way traditions are invented (and destroyed), and introduces the different historiographical schools. The second part covers some historiographical (ie. concerned with the art of writing history) issues with emphasis on the various ideas about the study and writing of history which have developed over the last two centuries and which students need to understand in order to engage confidently with the different approaches which professional historians take to their work. This is taught through a case-study approach where students can apply the different approaches studied in the first part of the course to specific controversial historical subjects. The course will cover the following topics: Whig and Tory history, Ranke, the professionalisation of the study of history, nations, empire, structuralism, post-structuralism, revisionism, counter-factual history, case studies may change from year to year but will include topics such as The Peasants’ Revolt, The English civil war, the outbreak of world war one; suffrage, consumerism, the Welsh in history, the Reformation. American Civil war, Cold War; Oral history; National identity.
    or
    HCG-2011: Dehongli'r Gorffennol (20) (Semester 1)
    Er y byddir yn rhoi peth sylw i rai o haneswyr mawr y bedwaredd ganrif ar bymtheg – fel Ranke, Macaulay a Marx – bydd pwyslais y cwrs ar hanesyddiaeth yr ugeinfed ganrif. Canolbwyntir gan hynny ar feddylwyr a thueddiadau allweddol ym maes hanesyddiaeth yn ystod y ganrif ddiwethaf gan astudio enghreifftiau penodol o gynnyrch y meddylwyr a’r ysgolion dan sylw. Ymysg y pynciau a astudir bydd Ysgol yr Annales, Hanesyddiaeth Farcsaidd, Hanes Merched, Hanes Llafar, a her syniadaeth ôl-strwythurol ac ôl-fodern. Neulltuir yn ogystal ddwy ddarlith i drafod agweddau ar Hanesyddiaeth Cymru yn y cyfnod diweddar.
  • HWH-2070: History Workplace Module S1 (20) (Semester 1)
    The student normally spends one day a week during the appropriate semester, and in total about 70 hours, working in an archives office, an archaeological unit or a museum service undertaking specific tasks of a practical as well as an academic nature as given them by the officer(s) in charge. These typically include drawing up inventories, collating field evidence, drawing up catalogues of discrete manuscript or artefact collections, as well as at times dealing with public enquiries. Currently the Department has agreements with most of the archive record offices in north Wales, but especially at Caernarfon and Llangefni, with the Gwynedd Archaeological Trust, with Oriel Bangor and Oriel Môn at Llangefni and the regimental Museum at Caernarfon. Approved excavation training courses may qualify if of sufficient duration and rigour and conform to the Course Guidelines. Students should also be aware that there are health and safety implications to all placements.
  • HWH-2071: History Workplace Module S2 (20) (Semester 2)
  • HTA-2111: Ancestral Landscapes (20) (Semester 1)
    1. Introduction and the chronology of later prehistoric Britain and Ireland 2. Mesolithic background and the nature of hunter-gatherers 3. The Mesolithic/Neolithic transition 4. The environment, forest clearances and the role of cereals and meat in Neolithic diets 5. Settlements, houses and mobility 6. Neolithic material culture: pottery, stone tools, axes and flint mines 7: Places for the ancestors: the role of the dead in Neolithic society 8. Monuments 1: chambered tombs 9. Monuments 2: causewayed enclosures 10. Monuments 3: cursus, henges and stone circles 11. Theory 1: Prehistoric landscapes, phenomenology and experience 12. Theory 2: The natural world: natural places and human-animal relations 13. Ireland: a case study 14. Early Bronze Age: Introduction 15. Places for the dead: Earlier Bronze Age burial and ceremony 16. Early Bronze Age: elements of continuity, elements of change 17. Early Bronze Age/Middle Bronze Age transition 18: Dividing the land: Later Bronze Age Settlement 19. Later Bronze Age burial and ceremony 20. The production and consumption of prestige goods 21. Regional archaeologies? 22. Revision session
  • HGH-2112: Civil War: Eng & Wal 1558-1660 (20) (Semester 1)
    The course concentrates upon political and religious history - but social, cultural, economic and intellectual aspects are also considered where they are relevant to the core of the course. Major topics explored include: The ‘crisis’ of the 1590s; The impact of the arrival of the Stuart dynasty; Divisions in English Protestantism; Charles I’s Personal Rule, and the outbreak of civil war; The course of the conflict, and attempts at a settlement; The reasons for the regicide; The English Republic and the restoration, 1649-1660
  • HTH-2112: Reformation & Counter-Reforma. (20) (Semester 2)
    The nature of the late medieval region; Luther's teaching; the early spread of the Reformation in town; the Peasants war; radical reformation and protestant divisions; the reformation in kingdoms and principalities; Calvinism and its association with revolt; the origins and nature of the counter-reformation; comparison of sixteenth century protestantism and catholicism.
  • HTA-2114: Experimental Archaeology (20) (Semester 2)
    1. Introduction: experimental archaeology today and its links with ethnoarchaeology 2. The history of experimental archaeology 3. Experiment by design: designing experiments, recording data and methodology 4. Prehistoric metallurgical practices: copper and bronze production 5. Stone and flint technologies; production and use-wear analysis 6. Prehistoric metallurgical practices: iron production 7. Food production: cooking with stone and food storage pits 8. Making prehistoric roundhouses 9. Cremation pyres: a case study on Early Bronze Age practices 10. Taphonomies: understanding the formation of the archaeological record through experimental archaeology 11. Experiencing experiments and materials; revision lecture
  • HTA-2117: Roman Frontier Society (20) (Semester 2)
    One of the key themes of this module is the interaction between the Roman army and native populations, and the subsequent evolution of distinct frontier societies. Contextualisation will be central to the investigation of the archaeology. Examination of material evidence from military and civilian sites will include settlement, burial and environmental evidence. Iconographic and epigraphic evidence will also be examined, as will contemporary written sources (e.g. the Vindolanda letters). Key issues explored will centre on continuity and change, and topics will include syncretism and native resistance. The history of Roman scholarship and its influence on perceptions of frontier life forms an important aspect of this course, with particular emphasis given to current post-colonial approaches.
  • HTA-2118: Field Archaeology in Britain (20) (Semester 1)
    Lectures 1. Course introduction: outline of course aims, content, assessment. 2. Research designs and regional sampling. 3. Desk-based research: (using HERs, literature searches (including grey literature), accessing aerial photographs, historical documents, place name research, map regression analysis). 4. Surveying upstanding monuments: building recording; setting up a site grid (EDM and tapes); surveying earthworks; fieldwalking strategies. 5. Geophysical surveys: magnetometer, resistivity, magnetic susceptibility, GPR 6. Setting up an archaeological excavation: SMCs, landowner permissions, logistics, sampling strategy, schedule. 7. Doing an excavation: excavation techniques: dryland, wetland, contexts 8. Doing an excavation: recording techniques (planning, section drawing, small finds) 9. Doing an excavation: sampling strategies (soil samples, dating samples) 10. Excavating human remains 11. Planning post-excavation analyses and presenting sites to the public: the importance of outreach Workshops 1. Interpreting aerial photography and geophysical surveys: formation processes, site and landscape stratigraphy, plotting data 2. Making maps (downloading data from Edina, Illustration, plotting data) 3. Designing an excavation strategy for three different case-study sites 4. Environmental soil sampling; sorting of soil residues (course residues) and presentation and analysis of data 5. Interpreting archaeological field illustrations (e.g. sections and plans); site formation processes and stratigraphy; writing stratigraphic reports Fieldtrips 1. Using the HER and grey literature searches: Gwynedd Archaeological Trust (2 hours) 1. Setting up a site grid and surveying upstanding remains (5 hours) 2. Building recording (3 hours)
  • HGH-2119: Britain 1945-1990 (20) (Semester 2)
    Britain at the outbreak of war; Dawn of a new Jerusalem; The Attlee governments, 1945-51; The affluent society ? The Wilson governments; Heath to Thatcher The decline of socialism Social attitudes and class; Youth culture Thatcherism to the Third Way; New Labour The break-up of Britain ?.
  • HTA-2120: Rethinking Archaeology (20) (Semester 2)
    Lectures 1. The origins of archaeological theory 2. The ‘New Archaeology’ and post processualism 3. Marxist and structuralist approaches in archaeology 4. The post-processualist critique 5. Multi disciplinary approaches to the archaeological record 6. The archaeology of people and social relations 7. Towards an archaeology of gender 8. Approaches to the study and interpretation of material culture 9. Contemporary approaches to archaeological landscapes 10. Understanding the built environment 11. The archaeology of ritual and religion 12. Archaeology in theory and in practice Seminars 1. The identification of cultural groups from archaeological evidence 2. The loss of innocence and the development of the ‘New Archaeology’ 3. Symbolic and structural archaeology 4. Re-constructing an interpretive archaeology 5. Social evolution and cognitive archaeology 6. How were past societies organised? 7. Representing gender in the archaeological past 8. Art or artefact: key debates in material culture studies 9. Experiencing the past: a phenomenology of landscape 10. House form and culture 11. What is ritual and religion and can we identify them in the archaeological record? 12. Critical approaches to archaeological fieldwork
  • HTA-2123: Archaeology Field School (20) (Semester 1)
    Practical skills: Archaeological excavation and survey: removing turf and topsoil cover, cleaning surfaces, sectioning and excavating features, recovering finds, soil and paleoenvironmental sampling, drawing of plans and sections, 2D and 3D photography, surveying with a total station and GPS Rover, producing written records. Archaeological post-excavation work: finds processing and recording, wet sieving soil samples, plan digitization, finds drawing and photography, report writing. Theoretical knowledge: Principles of archaeological stratigraphy, GIS and CAD applications in archaeology, UK archaeological heritage legislation; organising and financing an excavation
  • HTH-2124: Heritage and Identity (20) (Semester 1)
    Individual, group, local, regional, national and global identities; museums; political and cultural role of archaeology and history, the heritage in minority groups, the heritage of elites, oral culture, heritage and the nation state, the creation of heritage-based identities in past societies.
  • HGH-2127: Europe, Early Middle Ages (20) (Semester 2)
    1. The fall of the western Roman empire; 2. The foundation of the `barbarian¿ kingdoms; 3. Merovingians and Carolingians; 4. Charlemagne; 5. The papacy and monasticism; 6. Justinian and the Byzantine revival; 7. Culture and society; 8. Towns and economy; 9. The Vikings and the foundation of Normandy; 10. The birth of Islam and the creation of the caliphate of Cordoba. Students taking the course will study these topics using both primary sources (such as Gregory of Tours, Paul the Deacon, Einhard¿s Life of Charlemagne) and the modern historiography.
  • HTW-2127: Wales, Renaissance & Europe (20) (Semester 2)
  • HTC-2132: Rhyfel Mawr trwy lygaid y Cym. (20) (Semester 2)
    (Wythnos 1) Cyflwyniad Darlith 1 - Adrodd hanes y Rhyfel Sut mae’r ddealltwriaeth o’r Rhyfel Mawr wedi newid dros y degawdau Seminar 1 - Trafodaeth o sut mae’r myfyrwyr yn edrych ar y Rhyfel, a’r delweddau sydd yn gyfarwydd i’r Cymry; gwylio rhaglen Y Rhwyg (1988), a gyflwynwyd gan Dr John Davies (Wythnos 2) 1880-1914 Darlith 2 - Sôn am ryfel; poeni am ryfel; paratoi at ryfel; ysu am ryfel? Darlith 3 - Gorffennaf i Awst 1914 (Wythnos 3) Gwleidyddiaeth: Lloyd George, y Rhyddfrydwyr a’r Sosialwyr Darlith 4 - Cymeriad Lloyd George; Cyfraniad Lloyd George; Chwedl Lloyd George; Atgofion Lloyd George Darlith 5 - Sosialwyr a’r Rhyfel Seminar 2 – Gwleidyddiaeth a’r Rhyfel. Sut wnaeth gwleidyddion bortreadu’r Rhyfel, yn ystod yr ymladd ac yn y degawdau canlynol. (Wythnos 4) Her i’r hen syniadau am wareiddiad Darlith 6 - Gwrthwynebwyr Cydwybodol; Merched Cymru a’r Rhyfel Seminar 3 - Ymladd a gwrthod ymladd: agweddau Gwrthwynebwyr Cydwybodol, ac agweddau cymdeithas tuag at wrthwynebwyr cydwybodol (Wythnos 5) Ennill y Rhyfel; colli’r heddwch Darlith 7 – Buddugoliaeth Lloyd George? Cytundeb Versailles Darlith 8 – Dirwasgiad a Dadrithiad: y 1920au; Gwersi 1914 a’r ymgais i gymodi â Hitler: y 1930au (Wythnos 6) Yn sgil y Dadrithio Darlith 9 – Ymateb llenyddol yn y degawdau ar ôl 1918: chwedl Hedd Wyn; All Quiet on the Western Front Seminar 4 - David Davies a’r mudiad heddwch; Dyhuddiaeth a gwrthwynebiad i’r Ail Ryfel Byd (Wythnos 7) Y Llewod a’r Asynnod Darlith 10: Trafodaeth y 1960au: ‘Lions led by Donkeys’; pwysleisio ffolineb a gwastraff y rhyfel Seminar 5 – Gwylio darnau o gyfres The Great War (BBC, 1964) (Wythnos 8) Conundrum ‘y ddau Ffrynt Gorllewinol’ Darlith 11: Y gwahaniaeth rhwng maes y gad a fodolodd yn Ffrainc a Fflandrys rhwng 1914 a 1918 a’r un dychmygol sy’n gread y cenedlaethau a edrychai nôl mewn syndod a braw Seminar 6 – Cofeb Mametz; gwylio rhaglen Mametz (S4C, 1987) (Wythnos 9) Atgofion hen wŷr Darlith 12 - Trafferthion gydag atgofion cyn-filwyr, er gwaethaf eu hatyniad amlwg Darlith 13 – atgofion Griffith Williams, Bob Owen ac Ithel Davies (Wythnos 10) Hanes Diwylliannol y Rhyfel Darlith 14 - Rhoi’r cyfan mewn i gyd-destun diwylliannol Seminar 7 – Portreadu’r Rhyfel Mawr yn y Gymraeg heddiw: Lleisiau’r Rhyfel Mawr (2008) + Sesiwn ar gyfer cyflwyniadau’r myfyrwyr
  • HTH-2139: Norman Sicily (20) (Semester 1)
    1. Introduction - the creation of the kingdom, 1000-1130; 2. Roger II: the establishment of a new monarchy, 1130-1154; 3. Court culture and race relations; 4. Roger II's assizes: law and kingship; 5. Government in Sicily under the kings; 6. Reign of William I `the Bad', 1154-1166; 7. Reign of William II `the Good', 1166-1189; 8. The mosaics of the Norman kingdom¿Cefalu, Palermo and Monreale; 9. The church and the kings; 10. The chroniclers: Alexander of Telese and Hugh Falcandus. Students taking the course will study these topics using both primary sources (including the art produced in the kingdom) and the modern historiography.
  • HTH-2149: Britannia Rule the Waves (20) (Semester 2)
    (1) Introduction to the module, British Empire and Imperial Studies (2) Governing the Empire (3) British Policy and Trade (4) Technological Change (5) Scientific Exploration (6) The Empire: Asia (7) The Empire: America (8) The Empire: Africa (9) The Empire: Australasia (10) The British Empire and the Approach of War (11) Concluding lecture
  • HTH-2150: Britain in the Jazz Age (20) (Semester 2)
    1. War, Empire and Modernisation: The Boer War, WWI and an overview of the period. 2. Royalty and national identity: the Edwardian era; 1911 Investiture of the Prince of Wales; the Abdication Crisis. 3. Technological modernisation: Electricity, the wireless and motors. Case study of the Wembley Exhibition 4. Britain on the Breadline: health, living conditions and depression 5. Whippets, fish & chips and gambling: Workers, socialism and leisure 6. Nationalism and identity: Wales, Ireland and Scotland. 7. Ideology and the prelude to 1939 in Britain. A case study of Oswald Mosley and the British Union of Fascists. 8. Women in Love: Gender roles and fashion. A case study of the Mitford sisters 9. Bright Young People: Sexuality, aristocracy and decadence 10. Popular music: music halls, Jazz and Americanisation. 11. From bodyline bowling to mountaineering: Sport and society 1900-1939. 12. Workshop: Film and Jazz Age Britain 13. 1 day field trip to Manchester: Museum of Science and Industry and the People’s History Museum (including access to the Labour Party Archive)
  • HTC-2151: Gwladgarwyr a Gwladychwyr (20) (Semester 2)
    1. Cyflwyniad: trefedigaethau America yn yr Ymerodraeth Brydeinig 2. Radicaliaeth: Gweriniaethwyr a Cymedrolion 3. Cwrs y Rhyfel 4. Boston, Efrog Newydd a Virginia 5. Dynion Mawr: Washington, Jefferson 6. Y rhyfel mewn cyd-destun ehangach: Ffrainc a Phrydain 7. Creu gwladwriaeth: Datganiad Annibyniaeth; y Cyfansoddiad; Mesur Iawnderau 8. O’r tu allan: Americanwyr Cynhenid, Teyrngarwyr, Pobl Du a Menwod 9. Y Weriniaeth Gynnar 10. Effeithiau’r ‘Chwyldro’ a barnau cyfoes
  • HTC-2156: Rhyfel Cartref America (20) (Semester 1)
    Y Gogledd a’r De Gwleidyddiaeth yr 1850au Caethwasiaeth Achosion y Rhyfel a’r Argyfwng Arwahanu Ymladd y Rhyfel Abraham Lincoln Y Cymry a’r Rhyfel Y Rhyfel a’r Gorllewin Rhyddhau’r Caethweision Ennill y Rhyfel Adluniad a’i Fethiant
  • HTH-2157: The Age of the Castle (20) (Semester 1)
    This module explores the following themes: 1. Introduction: From the ‘Castle Story’ to Current Thinking; 2. The Origin of the Castle; 3. ‘The King of the Castle’: Great Towers and Keeps; 4. ‘An Englishman’s Home is his Castle’?: The Castle as Lordly Residence; 5. The Castles of the Crusaders 1098-1291; 6. Castles and the Chivalric Ideal; 7. The Castles of Wales 1066-1415; 8. Castles and Elite Landscapes; 9. The Decline of the Castle?; 10. Romantic Ruins? Artists, Poets and the Heritage Industry You will be given an opportunity to focus in-depth on these themes and on the underpinning primary sources in your seminars.
  • HTH-2159: History in Practice (20) (Semester 2)
  • HTH-2163: Nazi Germany 1933-1945 (20) (Semester 1)
  • HTH-2164: Violence in Early Mod Britain (20) (Semester 1)
  • Students should chose 60 credits of modules, they do not have to take Dehongli'r Gorffennol/Debating History but it does remain an option. They do, have to take at least one general module (code beginning HGH/HGC/HGW) over level 5 and 6 as a whole

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

40 credits from:

  • HSW-3019: Native Wales & the Normans (40) (Semester 1 + 2)
  • HDH-3075: History Dissertation (40) (Semester 1 + 2)
    The report and dissertation will set the chosen research in its broader context e.g. historiography, theoretical framework, geographical and historical framework. It will set research questions and a structure will be worked out. It will describe and analyse the chosen topic using a range of relevant secondary and primary evidence. The project will be written up in an ordered and academic manner.
    or
    HDG-3075: Traethawd Hir Hanes (40) (Semester 1 + 2)
    Bydd yr adroddiad a'r traethawd hir yn gosod yr ymchwil Hanes Cymru a ddewiswyd yn ei chyd-destun ehangach e.e. hanesyddiaeth, fframwaith theoretig, fframwaith daearyddol a hanesyddol. Bydd yn gosod cwestiynau ymchwil a bydd strwythur yn cael ei lunio. Bydd yn disgrifio ac yn dadansoddi'r pwnc a ddewiswyd gan ddefnyddio ystod o dystiolaeth wreiddiol ac eilaidd berthnasol. Ysgrifennir adroddiad ar y project mewn dull trefnus ac academaidd.
  • HSH-3138: British Country House from1750 (40) (Semester 1 + 2)
  • HSH-3144: The Norman Conquest (40) (Semester 1 + 2)
  • HSH-3146: Gender Sex & Society 1400-1800 (40) (Semester 1 + 2)
  • HSH-3147: Politics&Culture in the 1960s (40) (Semester 1 + 2)
  • Students must take EITHER the Dissertation OR a Special Subject

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

20 credits from:

  • HGW-3003: Re-igniting the Dragon (20) (Semester 1)
  • HWH-3070: History Workplace Module S1 (20) (Semester 1)
    The student normally spends one day a week during the appropriate semester, and in total about 70 hours, working in an archives office, an archaeological unit or a museum service undertaking specific tasks of a practical as well as an academic nature as given them by the officer(s) in charge. These typically include drawing up inventories, collating field evidence, drawing up catalogues of discrete manuscript or artefact collections, as well as at times dealing with public enquiries. Currently the Department has agreements with most of the archive record offices in north Wales, but especially at Caernarfon and Llangefni, with the Gwynedd Archaeological Trust, with Oriel Bangor and Oriel Môn at Llangefni and the regimental Museum at Caernarfon. Approved excavation training courses may qualify if of sufficient duration and rigour and conform to the Course Guidelines. Students should also be aware that there are health and safety implications to all placements.
  • HTA-3111: Ancestral Landscapes (20) (Semester 1)
    1. Introduction and the chronolgy of later prehistoric Britain and Ireland 2. Mesolithic background and the nature of hunter gatherers 3. The Mesolithic/ Neolithic transition 4. The environment, forest clearances and the role of cereals and meat in Neolithic diets 5. Settlements, houses and mobility 6. Neolithic material culture: pottery, stone tools, axes and flint mines 7. Places for the ancestors: the role of the dead in Neolithic society 8. Monuments 1: chambered tombs 9. Monuments 2: causewayed enclosures 10. Monuments 3: curses, henges and stone circles 11. Theory 1: Prehistoric landscapes, phenomenology and experience 12. Theory 2: The natural world: natural places and human animal relations 13. Ireland: a case study 14. Early Bronze Age: Introduction 15. Places for the dead: Earlier Bronze Age burial and ceremony 16. Early Bronze Age; elements of continuity, elements of change 17. Early Bronze Age/ Middle Bronze AGe transition 18. Dividing the land: Later Bronze Age Settlement 19. Later Bronze Age burial and ceremony 20. The production and consumption of prestige goods. 21. Regional archaeoloiges? 22. Revision session
  • HGH-3112: Civil War: Eng & Wal 1558-1660 (20) (Semester 1)
    The course concentrates upon political and religious history - but social, cultural, economic and intellectual aspects are also considered where they are relevant to the core of the course. Major topics explored include: The ‘crisis’ of the 1590s; The impact of the arrival of the Stuart dynasty; Divisions in English Protestantism; Charles I’s Personal Rule, and the outbreak of civil war; The course of the conflict, and attempts at a settlement; The reasons for the regicide; The English Republic and the restoration, 1649-1660
  • HTH-3112: Reformation & Counter-Reforma. (20) (Semester 2)
    The nature of the late medieval region; Luther's teaching; the early spread of the Reformation in town; the Peasants war; radical reformation and protestant divisions; the reformation in kingdoms and principalities; Calvinism and its association with revolt; the origins and nature of the counter-reformation; comparison of sixteenth century protestantism and catholicism.
  • HTA-3114: Experimental Archaeology (20) (Semester 2)
    1. Introduction: experimental archaeology today and its links with ethnoarchaeology 2. The history of experimental archaeology 3. Experiment by design: designing experiments, recording data and methodology 4. Prehistoric metallurgical practices: copper and bronze production 5. Stone and flint technologies; production and use-wear analysis 6. Prehistoric metallurgical practices: iron production 7. Food production: cooking with stone and food storage pits 8. Making prehistoric roundhouses 9. Cremation pyres: a case study on Early Bronze Age practices 10. Taphonomies: understanding the formation of the archaeological record through experimental archaeology 11. Experiencing experiments and materials; revision lecture
  • HTA-3117: Roman Frontier Society (20) (Semester 2)
    One of the key themes of this module is the interaction between the Roman army and native populations, and the subsequent evolution of distinct frontier societies. Contextualisation will be central to the investigation of the archaeology. Examination of material evidence from military and civilian sites will include settlement, burial and environmental evidence. Iconographic and epigraphic evidence will also be examined, as will contemporary written sources (e.g. the Vindolanda letters). Key issues explored will centre on continuity and change, and topics will include syncretism and native resistance. The history of Roman scholarship and its influence on perceptions of frontier life forms an important aspect of this course, with particular emphasis given to current post-colonial approaches.
  • HTA-3118: Field Archaeology in Britain (20) (Semester 1)
    Lectures 1. Course introduction: outline of course aims, content, assessment. 2. Research designs and regional sampling. 3. Desk-based research: (using HERs, literature searches (including grey literature), accessing aerial photographs, historical documents, place name research, map regression analysis). 4. Surveying upstanding monuments: building recording; setting up a site grid (EDM and tapes); surveying earthworks; fieldwalking strategies. 5. Geophysical surveys: magnetometer, resistivity, magnetic susceptibility, GPR 6. Setting up an archaeological excavation: SMCs, landowner permissions, logistics, sampling strategy, schedule. 7. Doing an excavation: excavation techniques: dryland, wetland, contexts 8. Doing an excavation: recording techniques (planning, section drawing, small finds) 9. Doing an excavation: sampling strategies (soil samples, dating samples) 10. Excavating human remains 11. Planning post-excavation analyses and presenting sites to the public: the importance of outreach Workshops 1. Interpreting aerial photography and geophysical surveys: formation processes, site and landscape stratigraphy, plotting data 2. Making maps (downloading data from Edina, Illustration, plotting data) 3. Designing an excavation strategy for three different case-study sites 4. Environmental soil sampling; sorting of soil residues (course residues) and presentation and analysis of data 5. Interpreting archaeological field illustrations (e.g. sections and plans); site formation processes and stratigraphy; writing stratigraphic reports Fieldtrips 1. Using the HER and grey literature searches: Gwynedd Archaeological Trust (2 hours) 1. Setting up a site grid and surveying upstanding remains (10 hours) 2. Building recording (5 hours)
  • HGH-3119: Britain 1945-1990 (20) (Semester 2)
    1. Britain at the outbreak of war; 2. Dawn of a new Jerusalem; 3. The Attlee governments, 1945-51; 4. The affluent society; 5. The Wilson governments; 6. Social attitudes and class; 7. Thatcherism to the Third Way; 8. The break-up of Britain.
  • HTA-3123: Supervising Archaeolog FieldWk (20) (Semester 1)
    Practical skills: Archaeological fieldwork supervision: maintaining records and taking responsibility for decisions as a supervisor or officer on an archaeological field project in the roles of context officer, drawing officer, photo officer, finds officer, sample officer, surveying officer, health and safety officer, trench supervisor, site visitor guide, deputy site director. Archaeological post-excavation supervision: taking responsibility for decisions as a supervisor or officer on an archaeological field project in the roles of environmental sample post-processing officer, finds post-processing officer, plan digitization officer, report writing officer. Theoretical knowledge: Principles of archaeological stratigraphy, GIS and CAD applications in archaeology, UK archaeological heritage legislation; organising and financing an excavation
  • HTH-3124: Heritage and Identity (20) (Semester 1)
    Individual, group, local, regional, national and global identities; museums; political and cultural role of archaeology and history, the heritage in minority groups, the heritage of elites, oral culture, heritage and the nation state, the creation of heritage-based identities in past societies
  • HGH-3127: Europe Early Middle Ages (20) (Semester 2)
    1. The fall of the western Roman empire; 2. The foundation of the `barbarian¿ kingdoms; 3. Merovingians and Carolingians; 4. Charlemagne; 5. The papacy and monasticism; 6. Justinian and the Byzantine revival; 7. Culture and society; 8. Towns and economy; 9. The Vikings and the foundation of Normandy; 10. The creation of the caliphate of Cordoba. Students taking the course will study these topics using both primary sources (such as Gregory of Tours, Paul the Deacon, Einhard¿s Life of Charlemagne) and the modern historiography.
  • HTW-3127: Wales, Renaissance & Europe (20) (Semester 2)
  • HTC-3132: Rhyfel Mawr trwy lygaid y Cym. (20) (Semester 2)
    (Wythnos 1) Cyflwyniad Darlith 1 - Adrodd hanes y Rhyfel Sut mae’r ddealltwriaeth o’r Rhyfel Mawr wedi newid dros y degawdau Seminar 1 - Trafodaeth o sut mae’r myfyrwyr yn edrych ar y Rhyfel; Dadansoddi delweddau poblogaidd o'r rhyfel ar y teledu, gan roi sylw arbennig i raglen Y Rhwyg (1988), a gyflwynwyd gan Dr John Davies (Wythnos 2) 1880-1914 Darlith 2 - Sôn am ryfel; poeni am ryfel; paratoi at ryfel; ysu am ryfel? Darlith 3 - Gorffennaf i Awst 1914 (Wythnos 3) Gwleidyddiaeth: Lloyd George, y Rhyddfrydwyr a’r Sosialwyr Darlith 4 - Cymeriad Lloyd George; Cyfraniad Lloyd George; Chwedl Lloyd George; Atgofion Lloyd George Darlith 5 - Sosialwyr a’r Rhyfel (Wythnos 4) Her i’r hen syniadau am wareiddiad Darlith 6 - Gwrthwynebwyr Cydwybodol; Merched Cymru a’r Rhyfel Seminar 2 - Ymladd a gwrthod ymladd: Sosialwyr a’r Rhyfel / Gwrthwynebwyr Cydwybodol. Dadansoddi’r disgrifiadau a gafwyd yn y wasg o’r rhai a wrthwynebodd y Rhyfel (Wythnos 5) Ennill y Rhyfel; colli’r heddwch Darlith 7 – Buddugoliaeth Lloyd George? Cytundeb Versailles Darlith 8 – Dirwasgiad a Dadrithiad: y 1920au; Gwersi 1914 a’r ymgais i gymodi â Hitler: y 1930au (Wythnos 6) Yn sgil y Dadrithio Darlith 9 – Ymateb llenyddol yn y degawdau ar ôl 1918: chwedl Hedd Wyn; All Quiet on the Western Front Seminar 3 – Dadansoddi agweddau gwleidyddion Cymreig a Phrydeinig (gan gynnwys David Davies) tuag at yr ymgyrch heddwch yn y degawdau rhwng y rhyfeloedd; dadansoddi’r gwrthwynebiad a welwyd yng Nghymru i’r Ail Ryfel Byd, a’i gymharu â dadleuon y rhai a gefnogai’r ymgyrch (Wythnos 7) Y Llewod a’r Asynnod Darlith 10: Trafodaeth y 1960au: ‘Lions led by Donkeys’; pwysleisio ffolineb a gwastraff y rhyfel Seminar 4 – Dadansoddi cynnwys a phwysigrwydd cyfres fawr The Great War (BBC, 1964) (Wythnos 8) Conundrum ‘y ddau Ffrynt Gorllewinol’ Darlith 11: Y gwahaniaeth rhwng maes y gad a fodolodd yn Ffrainc a Fflandrys rhwng 1914 a 1918 a’r un dychmygol sy’n gread y cenedlaethau a edrychai nôl mewn syndod a braw Seminar 5 – Trafod yr amrywiol ffyrdd y mae’r Cymry wedi coffâu brwydr Mametz; dadansoddi rhaglen Mametz (S4C, 1987) (Wythnos 9) Atgofion hen wŷr Darlith 12 - Trafferthion gydag atgofion cyn-filwyr, er gwaethaf eu hatyniad amlwg Seminar 6 – Dadansoddi atgofion y cyn-filwyr Griffith Williams, Bob Owen a’r gwrthwynebydd cydwybodol Ithel Davies, a thrafod eu dilysrwydd (Wythnos 10) Hanes Diwylliannol y Rhyfel Darlith 13 - Rhoi’r cyfan mewn i gyd-destun diwylliannol Seminar 7 – Dadansoddi’r modd y portreadir y Rhyfel Mawr yn y Gymraeg heddiw, gan astudio cyfres Lleisiau’r Rhyfel Mawr (S4C, 2008) + Sesiwn ar gyfer cyflwyniadau’r myfyrwyr
  • HTH-3139: Norman Sicily (20) (Semester 1)
    1. Introduction - the creation of the kingdom, 1000-1130; 2. Roger II: the establishment of a new monarchy, 1130-1154; 3. Court culture and race relations; 4. Roger II¿s assizes: law and kingship; 5. Government in Sicily under the kings; 6. Reign of William I `the Bad¿, 1154-1166; 7. Reign of William II 'the Good', 1166-1189; 8. The mosaics of the Norman kingdom - Cefalu, Palermo and Monreale; 9. The church and the kings; 10. The chroniclers: Alexander of Telese and Hugh Falcandus. Students taking the course will study these topics using both primary sources (including the art produced in the kingdom) and the modern historiography.
  • HTH-3149: Britannia Rule the Waves (20) (Semester 2)
    (1) Introduction to the module, British Empire and Imperial Studies (2) Governing the Empire (3) British Policy and Trade (4) Technological Change (5) Scientific Exploration (6) The Empire: Asia (7) The Empire: America (8) The Empire: Africa (9) The Empire: Australasia (10) The British Empire and the Approach of War (11) Concluding lecture
  • HTH-3150: Britain in the Jazz Age (20) (Semester 2)
    1. War, Empire and Modernisation: The Boer War, WWI and an overview of the period. 2. Royalty and national identity: the Edwardian era; 1911 Investiture of the Prince of Wales; the Abdication Crisis. 3. Technological modernisation: Electricity, the wireless and motors. Case study of the Wembley Exhibition 4. Britain on the Breadline: health, living conditions and depression 5. Whippets, fish & chips and gambling: Workers, socialism and leisure 6. Nationalism and identity: Wales, Ireland and Scotland. 7. Ideology and the prelude to 1939 in Britain. A case study of Oswald Mosley and the British Union of Fascists. 8. Women in Love: Gender roles and fashion. A case study of the Mitford sisters 9. Bright Young People: Sexuality, aristocracy and decadence 10. Popular music: music halls, Jazz and Americanisation. 11. From bodyline bowling to mountaineering: Sport and society 1900-1939. 12. Workshop: Film and Jazz Age Britain 13. 1 day field trip to Manchester: Museum of Science and Industry and the People’s History Museum (including access to the Labour Party Archive)
  • HTC-3151: Gwladgarwyr a Gwladychwyr (20) (Semester 2)
    1. Cyflwyniad: trefedigaethau America yn yr Ymerodraeth Brydeinig 2. Radicaliaeth: Gweriniaethwyr a Cymedrolion 3. Cwrs y Rhyfel 4. Boston, Efrog Newydd a Virginia 5. Dynion Mawr: Washington, Jefferson 6. Y rhyfel mewn cyd-destun ehangach: Ffrainc a Phrydain 7. Creu gwladwriaeth: Datganiad Annibyniaeth; y Cyfansoddiad; Mesur Iawnderau 8. O’r tu allan: Americanwyr Cynhenid, Teyrngarwyr, Pobl Du a Menwod 9. Y Weriniaeth Gynnar 10. Effeithiau’r ‘Chwyldro’ a barnau cyfoes
  • HTC-3156: Rhyfel Cartref America (20) (Semester 1)
    Y Gogledd a’r De Gwleidyddiaeth yr 1850au Caethwasiaeth Achosion y Rhyfel a’r Argyfwng Arwahanu Ymladd y Rhyfel Abraham Lincoln Y Cymry a’r Rhyfel Y Rhyfel a’r Gorllewin Rhyddhau’r Caethweision Ennill y Rhyfel Adluniad a’i Fethiant
  • HTH-3157: The Age of the Castle (20) (Semester 1)
  • HTH-3163: Nazi Germany 1933-1945 (20) (Semester 1)
  • Students must take a general module (those with a code beginning HGH/HGC/HGW) at level 6 if they did not take one at level 5

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.