Modules for course WW38 | BA/MUSCW
BA Music and Creative Writing

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

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

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Year 1 Modules

Compulsory Modules

Semester 1

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

Semester 2

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

Optional Modules

60 credits from:

  • QXP-1001: Creative Writing: Prose (20) (Semester 1 + 2)
    This module, compulsory for creative writing students, introduces you to a wide range of creative prose-writing, both fictional and documentary and you will examine creative techniques used in short stories, autobiography, memoir, travel-writing, critical essays/literary reviews and play-scripts. It will include practical sessions in which students will begin to produce their own work in these genres, and group discussion of students’ work in progress. We will discuss the ways in which these genres are distinct from one another and yet share certain features and may in fact be merged by deliberate techniques of hybridisation. We will ask such questions as how a writer of fiction handles the transformation of personal experience as compared to the writer of memoirs. Can imaginative, speculative biographies enhance rather than falsify our knowledge of their subjects? How do writers tackle the adaptation of their work from one medium to another? As well as examining, from the practitioner's point of view, texts by leading authors and critics, you will be encouraged to work independently on your own material, helped by writing-exercises and longer-term assignments designed to stimulate ideas and sharpen technique. You will be encouraged to present your work for class discussion and, by receiving and giving feedback in a supportive atmosphere, you will develop your skills as a close reader and an articulate critic.
  • UXS-1001: Intro to Practical Journalism (20) (Semester 1)
    The Basics of Writing a News Story; How to write Intros, Drop Intros, Lively Intros; What makes a good news story?; Where do stories come from?; How to build a contacts book; How to conduct an interview; Writing for TV and Radio; Colour and Feature Writing; An Introduction to Shorthand; How to deal with breaking news.
    or
    UXC-1001: Cyfl. i Newyddiaduraeth Ymarf. (20) (Semester 1)
    Hanfodion ysgrifennu straeon newyddion; Sut i ysgrifennu Intros, Drop Intros, ac Intros Bywiog; Beth sy’n gwneud stori dda?; O le mae straeon yn dod?; Sut i greu llyfr contacts; Sut i gynnal cyfweliad; Ysgrifennu ar gyfer teledu a radio; Ysgrifennu erthyglau nodwedd; Cyflwyniad i llawfer; Ymdopi â newyddion sy’n torri.
  • QXP-1003: Creative Writing: Poetry (20) (Semester 1 + 2)
    This module, compulsory for creative writing students, introduces you to the range of forms available to the poet in the twenty-first century. You will read a variety of poetry and respond through producing your own poems. You will be asked to work in a variety of forms and to justify your reasons for choosing them. The module will demonstrate the ways in which poetry is an art form particularly well suited to expressing the experience of contemporary everyday life. We will also look at connections between poetry and music and the visual arts as well as the impact of digital technologies. Poetry will be presented both in the written and spoken form, and students will be encouraged to consider the performance of poetry both in class and by attending and reviewing recommended evening poetry readings by leading poets. .
  • UXS-1004: History of Journal & Pub Sph. (20) (Semester 2)
    This course starts by presenting and critiquing Jurgen Habermas’ ideal of the public sphere. It then examines the various forces that he suggests constitute the public sphere’s corruption – namely the forces of propaganda, public relations, interest groups, neo-liberalism and market pressures. Taking a range of analytical perspectives (critical-theoretical, historical, political-economic and sociological) the rise of market-driven journalism will be examined, as will journalism’s struggle to establish its independence from the state and the state’s consequent attempts at manipulation and censorship. Throughout, a range of journalistic ideals, forms and practices, such as the radical press, objective journalism and investigative journalism, will be critically analysed and evaluated.
  • QXE-1013: Reading, Thinking, Writing (20) (Semester 1)
    The course will include analytical reading of drama, prose, poetry and film in English from the medieval period to the present era; an introduction to critical and theoretical approaches to the reading of literature; integration of close textual study and critical/theoretical approaches, as the foundation for all other modules in the School; practical development of skills of literary commentary, essay writing, and critical discussion.
  • UXS-1017: Writing Across Media (20) (Semester 1)
    In "Creating Narratives" you will have the opportunity to investigate, and participate in, a variety of creative activites relating to the production of fiction. You will be able to develop an awareness of issues connected with the writing and consumption of fiction (e.g.creative, cultural and technological issues), and discover how cultural norms and assumptions, and individually writerly actions, influence fiction writing choice and fiction readerships. You will look at contemporary fiction writing around the world in a variety of media, and consider the role of publishers and readers in the creative process.
  • UXS-1024: Introduction to Screenwriting (20) (Semester 2)
    This module is an introduction to the basic underlying principles of screenwriting. It introduces students to key features of writing for film, and assesses them on their analyses of the screenplay form, plus the writing of a screenplay and treatment, and the pitching of an original concept. Students will primarily focus on writing for the short film format in order to facilitate their assessed short film screenplay assignment. Lectures will deliver various aspects of screenwriting, broken down week-by-week so that students can digest specific aspects of the craft of screenwriting. These include script formatting, style, structure, genre, plotting, characterisation and dialogue. Students will also learn how to present their work in the form of industry treatments and outlines, as well as techniques for outlining a concept orally, in the form of a film pitch. Students will be encouraged to develop professional writing habits and to give and receive critically constructive comment and advice. Seminar time will be spent discussing aspects of screenwriting, screened short films, as well as providing an opportunity for students to carry out creative screenwriting tasks in groups. Students will also be encouraged to critically peer evaluate the work of their cohort, and to analyse published screenplays, applying knowledge gained in the lecture. Students will also be required to read portions of screenplay extracts from published work prior to the seminars and lectures (uploaded to Blackboard) in order to analyse them during the seminars.

40 credits from:

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

Year 2 Modules

Compulsory Modules

Semester 1

  • QXP-2001: C/Writing: Poetry & Short Fict (20)
    This double-thin module is designed to help solve the problem that inexperienced writers have of writing in ways that are too abstract and general. You will be set exercises that sharpen dialogue and assist with the depiction of place in fiction, and exercises that demonstrate how images are most effectively evoked in poems. These ‘showing’ devices will then be placed in context by the use of models that indicate the importance of ‘telling’, that indicate how scenic devices in fiction are framed by direct authorial intervention, and how images in poems are linked to statements that further define and complicate them. Students are required to attend and review three evening poetry-readings to be given by leading poets during the course.
  • QXP-2004: Creative Writing: The Novel (20)
    Creative Writing: The Novel will guide you through the ways and means of writing a novel. You will be taught methods of composition and creation of novels, including practical and analytical consideration of novelistic structure and design, viewpoint, voice and role-play, and developing style and tone. It also includes, with reference to the practical application and consideration of these elements, consideration of the variety of forms relevant to the contemporary novel, comparing and contrasting novels, present and past, with other forms of creative writing.
  • QXP-2005: Transformative Writing (20)
    Some of today's well known works of literature were produced by writers 'writing back' to and transforming certain source materials. Examples include Peter Carey's prize-winning tnrsformation of Dickens' 'Great Expectations' in 'Jack Maggs' (1997), and Gregory Maguire's transformation of Baum's 'Wizard of Oz' in 'Wicked: The Life and times of the Wicked Witch of the West' (1995). This module examines the ideas and chanllenges of transformative writing, how such writing differs from adaptation, and how professional writers have employed it in their works. Students will be introduced to the practice of responding through creative writing, and given the chance to select their own source material (of whatever kind) in order to experiment and 'write back' to it. Students will also have the opportunity to experience and reflect upon the nature of a negotiated writing project through the use of an initial writing contract (in weeks one and two)

Semester 2

  • QXP-2001: C/Writing: Poetry & Short Fict
    This double-thin module is designed to help solve the problem that inexperienced writers have of writing in ways that are too abstract and general. You will be set exercises that sharpen dialogue and assist with the depiction of place in fiction, and exercises that demonstrate how images are most effectively evoked in poems. These ‘showing’ devices will then be placed in context by the use of models that indicate the importance of ‘telling’, that indicate how scenic devices in fiction are framed by direct authorial intervention, and how images in poems are linked to statements that further define and complicate them. Students are required to attend and review three evening poetry-readings to be given by leading poets during the course.
  • QXP-2004: Creative Writing: The Novel
    Creative Writing: The Novel will guide you through the ways and means of writing a novel. You will be taught methods of composition and creation of novels, including practical and analytical consideration of novelistic structure and design, viewpoint, voice and role-play, and developing style and tone. It also includes, with reference to the practical application and consideration of these elements, consideration of the variety of forms relevant to the contemporary novel, comparing and contrasting novels, present and past, with other forms of creative writing.
  • QXP-2009: Creative Non-Fiction (20)

Optional Modules

20 to 0 credits from:

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 3 Modules

Compulsory Modules

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

60 credits from:

  • QXP-3009: Working Class Fictions (20) (Semester 2)
  • UXS-3038: Journalism and Risk (20) (Semester 1)
    This course starts by presenting and critiquing the concept of risk, and the development of the field of risk communication. It then examines two key theorists of the 'risk society', namely Ulrich Beck and Anthony Giddens, to explore sociological theoretical foundations that explain inter-relationships of risk, trust, expertise and mass-mediated communication. Building on this theoretical lens, it then moves to examine journalism, risk and trust, looking at patterns of risk reporting in different aspects of the press. In-depth analysis of specific risk issues and their journalistic communication are examined, ranging from health risks like 'mad cow' disease to security risks like terrorism.
  • UXS-3041: Games and Virtual Environments (20) (Semester 2)
    In `Advanced Games', you will plot out a project relating to a new product for the computer game industry. This will involve some sense of market profiling and potential, and a discussion of where your particular product might be used. In class, you will discuss and evaluate aspects of game design. By the conclusion of the module you will have researched, outlined and illustrated your product, provided a detailed creative blueprint for its shape and form, and shown an awareness of how it contributes to, or advances, the chosen genre.
  • UXS-3049: Advanced Screenwriting (20) (Semester 1)
    Lectures will deliver various discourses on the history and development of adaptations, and interrogate the relationship of various media to film. Lectures will also examine a range of concepts related to adaptation, including authorship, visual storytelling, narratology and intertextuality. These concepts will then be applied to film adaptations screened in the same week. Seminar time will be spent discussing theories of adaptation, and also provide an opportunity for students to carry out creative adaptation tasks in groups, such as conceiving short film ideas, and developing adaptations from non-literary sources, such as music and photography, and other visual arts. Students will need to demonstrate an understanding of key theories related to the comparative textual analysis of an adaptation to its source material in assessed essays. However, the module is heavily focused on the creative act and process of adaptation, and offers the chance for students to radically imagine pre-existing texts in other media in their assessed coursework. Proposed films to be screened include: Adaptation (Jonze, 2002), Throne of Blood (Kurosawa, 1957), American Psycho (Harron, 2000), The Innocents (Clayton, 1961), The Others (Amenábar, 2001), The Watchmen (Snyder, 2009), Don't Look Now (Roeg, 1973), The Shining (Kubrick, 1980), Apocalypse Now (Coppola, 1979), Stalker (Tarkovsky, 1979), Zatoichi (Kitano, 2003), Where the Wild Things Are (Jonze, 2009), La Jetée (Marker, 1962), 12 Monkeys (Gilliam, 1995), Naked Lunch (Cronenberg, 1991), A Cock & Bull Story (Winterbottom, 2005), Elephant (Clarke, 1989), Elephant (Van Sant, 2003), The Five Obstructions (Leth/Von Trier, 2003).
  • UXS-3076: Global News Agenda (20) (Semester 2)
    Topics that this module will discuss include: the CNN effect; manipulating global news agendas through public diplomacy; war, perception management and bearing witness through global media forms; reporting distant suffering; satellite news wars; the rise of satellite news in the Middle East and the possible rise of an Arab public sphere; and the impact of global news forms on censorship and resistance.
  • UXS-3078: Writing Genre Fiction (20) (Semester 2)
    Students will approach genre fiction from a creative & critical perspective, examining a particular genre across the semester as a series of case studies (e.g., speculative fiction). They will engage in reading and analyzing relevant texts, applying theory and understanding gained to their own creative project.
  • UXS-3090: Dissertation (40) (Semester 1 + 2)
    This module is a period of supervised research culminating in the submission of a 10,000-word dissertation worth 40 credits. In week six students will make a 10 minute oral presentation on the progress of their research to date. Students wishing to produce a piece of practice-based audio-visual research (e.g. a fiction or non-fiction television, film or radio piece) must normally register for UXS 3091 (Final Year Group Project), although there is opportunity to employ creative methodologies so for practice-based students to utilise their learning and skills in a research context.
    or
    UXC-3090: Ast'th Unigol neu Draethawd (40) (Semester 1 + 2)
    Mae'r modiwl hwn yn datblygu ar yr hyn a astudiwyd yn y modiwl UXS 2092 yn yr ail flwyddyn. Cyfnod o ymchwil dan oruchwyliaeth fydd yn arwain at gyflwyno traethawd hir 10,000 o eiriau gwerth 40 credyd yw'r modiwl hwn. Yn wythnos 6, bydd gofyn i fyfyrwyr roi cyflwyniad llafar 10 munud ar hynt eu hymchwil hyd yma. Fel rheol, dylai myfyrwyr sydd eisiau gwneud ymchwil clyweledol yn seiliedig ar ymarfer (e.e. darn teledu, ffilm neu radio ffuglen neu ffeithiol) gofrestru ar UXS 3091 (project grŵp blwyddyn olaf) yn lle’r modiwl hwn, er bod cyfle i ddefnyddio methodolegau creadigol er mwyn i fyfyrwyr ar gyrsiau sy'n seiliedig ar ymarfer allu defnyddio eu dysgu a'u sgiliau mewn cyd-destun ymchwil. Ni ellir cymryd y modiwl hwn gyda UXS 3090. Mae'n rhaid ichi fod wedi astudio UXS 2099 NEU UXS 2092 er mwyn dilyn y modiwl hwn.
  • UXS-3092: Dissertation - Action Research (40) (Semester 1 + 2)
  • QXP-3093: Experimental Writing (20) (Semester 1)
  • QXP-3099: Creative Writing Dissertation (40) (Semester 1 + 2)
    This module involves the production of an extended piece of creative writing of high quality, with an attached ‘criticism in practice’ piece, an introduction to the work, and relevant bibliographic and ‘creative’ references. The focus of the dissertation is the piece of creative writing, which can be undertaken in any genre (after agreement with supervisor) and must be preceeded by a detailed (2 3 page) plan of work to be completed. The critical piece can be in a style similar to that of a critical literature essay, or it can be more focused on creative practice or the contextualisation of that creative practice, and can use the student’s own work as one of the reference points, as well as containing references to the work of other writers. The length of the dissertation varies according the genre and is the subject of discussion with the supervisor, but as a guide the total number of words for a prose fiction submission would be between 8,000 and 10,000 words. The deadline for submission of the dissertation is noon on Friday of week ten of semester two.
  • UXS-3401: Practical Journalism: ELD (20) (Semester 1)
    The course will teach students media law and how to report on the workings of government. They will gain practical experience in reporting from courts, inquests and council meetings. They will also be taught how to write and research news and feature articles, interviewing techniques, and how to cover running stories and elections.
    or
    UXC-3401: Newyddiaduraeth Ymarferol: MCD (20) (Semester 1)
    Bydd y modiwl yn dysgu myfyrwyr am gyfraith y cyfryngau a sut i ohebu am brosesau'r llywodraeth. Byddant yn cael profiad ymarferol o ohebu am achosion llys, cwestau a chyfarfodydd cyngor. Byddant hefyd yn dysgu sut i ymchwilio ac ysgrifennu erthyglau newyddion ac erthyglau nodwedd, technegau cyfweld a sut i ymdrin â straeon parhaol ac etholiadau.
  • UXS-3412: Playable Fiction (20) (Semester 2)
    The creative writer is constantly challenged by the evolution of literary form, striving to create fresh and original narratives that depart from the conventional. Modernism, postmodernism, and now digital media are all avenues of exploration and experimentation. This module focuses on the latter domain, as writers approach narrative through the creation of games. Story-games, such as hypertexts, interactive fictions, and visual novels, necessitate unconventional, and even unnatural, structures and perspectives. By creating playable narratives, students on this course will open their writing up to new expressions, forms, and genres. Students will discuss and explore critical and creative responses to these texts, applying new techniques and awareness to their creative writing practice.

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.