Run by School of Arts, Culture and Language

30.000 Credits or 15.000 ECTS Credits

Semester 2

Organiser: Prof Andrew Lewis

Mae’r modiwl hwn yn archwilio nifer o ymddangosiadau cerddoriaeth mewn cymdeithas.

Bydd myfyrwyr ar y modiwl hwn yn ymestyn eu gwybodaeth a'u dealltwriaeth o faterion yn ymwneud gyda cherddoriaeth mewn cymdeithas drwy un neu fwy o astudiaethau achos yn codi o arbenigedd ymchwil staff. Bydd myfyrwyr yn datblygu sgiliau dadansoddi cerddoriaeth a chreu cerddoriaeth [musicking] mewn cyd-destun diwylliannol, ac yn archwilio agweddau theoretig o ymarfer cerddoriaeth cymhwysol.

Bydd myfyrwyr yn ennill medrau fel arsylwi, gwerthuso a meddwl yn feirniadol, y gellir eu rhoi ar waith wedyn yn eu projectau ymchwil eu hunain.

Bydd pynciau'n amrywio o flwyddyn i flwyddyn, gan ymateb i arbenigedd ymchwil y staff a benodir i ddysgu'r modiwl ac, i ryw raddau, diddordebau'r myfyrwyr. Mae'r pynciau posibl a gynigiwyd yn cynnwys:

• Cerddoriaeth mewn Iechyd a Lles
• Ethnogerddoreg
• Cerddoriaeth a Gwleidyddiaeth
• Cerddoriaeth gynnar a chymdeithas
• Hunaniaeth a threftadaeth ddiwylliannol
• Cerddoriaeth a Newid Hinsawdd.

threshold

Trothwy (50-59) Gwaith sy’n dangos gafael dda ar wybodaeth ffeithiol, gyda gallu digonol i feddwl yn gysyniadol, a pheth ymwybyddiaeth o faterion methodolegol (er yn gyfyngedig), a dangos digon o dystiolaeth o ymdriniaeth gyffredinol ddeallusol, gyda mynegiant gweddol.

excellent

Rhagorol (70+) Gwaith sy’n dangos dealltwriaeth drylwyr o’r pwnc, gyda thystiolaeth o astudiaeth estynedig, meddwl yn gysyniadol a phraff, ymdriniaeth wreiddiol a medrau cyflwyno rhagorol.

good

Da (60-69) Gwaith sy'n dangos gafael cadarn ar y pwnc, gyda lefel dda o feddwl yn gysyniadol, ymwybyddiaeth o faterion methodolegol a materion eraill, ynghyd â thystiolaeth o finiogrwydd deallusol a mynegiant da.

1. Hogi medrau meddwl yn feirniadol a dadansoddol

2. Datblygu gwybodaeth a dealltwriaeth fanwl am bynciau penodol ym maes cerddoriaeth mewn cymdeithas

3. Dangos dealltwriaeth uwch o foeseg a methodolegau priodol

4. Gwella eu medrau cyflwyno, ar bapur ac ar lafar

Type	Name	Description	Weight
	Oral Presentation		30.00
	Traethawd		70.00

		Hours
Private study	amser darllen, paratoi a gwneud asesiadau	275
Tutorial	Bydd ymgynghori unigol gyda thiwtor y modiwl ar gael ar alw, hyd at gyfanswm o 3 awr.	3
Seminar	Un seminar wythnosol yn para 2 awr.	22

• Literacy - Proficiency in reading and writing through a variety of media
• Computer Literacy - Proficiency in using a varied range of computer software
• Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
• Exploring - Able to investigate, research and consider alternatives
• Information retrieval - Able to access different and multiple sources of information
• Inter-personal - Able to question, actively listen, examine given answers and interact sensitevely with others
• Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.

• Musicianship skills – recognition, classification, contextualisation, reconstruction, exploration
• Re-creative skills – interpretation, innovation, versatility, and other skills relating to performance
• Intellectual skills specific to Music – contextual knowledge, cultural awareness, critical understanding, repertoire knowledge, curiosity, analytical demonstration
• Technological skills – digital capture, digital expression, digital innovation
• Intellectual skills shared with other disciplines – research and exploration, reasoning and logic, understanding, critical judgement, assimilation and application
• Skills of communication and interaction – oral and written communication, public presentation, team-working and collaboration, awareness of professional protocols, sensitivity, ICT skills, etc.
• Skills of personal management – self-motivation, self-critical awareness, independence, entrepreneurship and employment skills, time management and reliability, organisation, etc.
• Enhanced powers of imagination and creativity (4.17)

Talis Reading list

http://readinglists.bangor.ac.uk/modules/wmc-4103.html

Reading list

• Wayne C Booth et al., The Craft of Research (trydydd argraffiad, University of Chicago Press, Chicago & London, 2008) • Trevor Herbert, Music in Words: A Guide to Researching and Writing About Music (Oxford University Press, Oxford, 2012).
• Demar Irvine, Irvines Writing about Music, trydydd argraffiad, wedi ei adolygu, Mark A Radice (Amadeus Press, Oregon, 1999) • Richard J. Wignell, Writing about music: an introductory guide (Prentice Hall, Englewood Cliffs, 1990) • Juliette Alvin, Music Therapy (John Clare Books, London, 1966) • Amelia Oldfield, Music Therapy with Children and their Families (Jessica Kingsley, London, 2008) • Leslie Bunt, Music Therapy: An Art Beyond Words (Routledge, New York, 1994) • L. Bunt & S. Hoskyns (goln.): The Handbook of Music Therapy (Brunner-Routledge, Hove & New York, 2002) • K. E. Bruscia: Defining Music Therapy (Barcelona Publishers, Gilsum, 1998) • Don Campbell, The Mozart effect: tapping the power of music to heal the body, strengthen the mind, and unlock the creative spirit (Hodder Mobius, London, 2002) • Don Campbell, The Mozart effect for children: awakening your child's mind, health and creativity with music (Hodder Mobius, London, 2002) • W. B. Davis, K. E. Gfeller & M. H. Thaut (gol.): An Introduction to Music Therapy: Theory and Practice (American Music Therapy Association, 2008) • Susan Hallam, Ian Cross, and Michael Thaut (goln.), The Oxford handbook of music psychology (Oxford University Press, Oxford & New York, 2009) • M. Heal & T. Wigram (gol.): Music Therapy in Health and Education (Jessica Kingsley, London, 1993) • Peregine Horden, Music as medicine: the history of music therapy since antiquity (Ashgate, Aldershot, 2000) • Patrik N. Juslin and John A. Sloboda, Handbook of music and emotion: theory, research, applications (Oxford University Press, Oxford, 2011) • Carolyn Kenny & Brynjulf Stige, Contemporary voices in music therapy: communication, culture, and community (Unipub forlag, Oslo, 2002) • J. Z Robarts (gol.) Music Therapy Research: Growing Perspectives in Therapy and Practice, 1 (BSMT Publications, East Barnet, 2001) • Brynjulf Stige et al, Where music helps: community music therapy in action and reflection (Ashgate, Farnham, 2010) • B. L. Wheeler (gol.), Music Therapy Research: Quantitative and Qualitative Perspectives (Barcelona Publishers, Phoenixville, 1995) • T. Wigram, B. Saperston & R. West (gol.), The Art and Science of Music Therapy: A Handbook (Harwood Academic Publishers, Chur, 1995) • Alison Arnold (gol.), The Garland Encyclopedia of World Music (New York, 2000) • Anthony Baines (gol.), Musical Instruments Through The Ages, (London, 1961) • C. Ballentine, Music and its Social Meanings (New York, 1984) • Gregory F. Barz & Timothy J. Cooley, Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (Oxford, 1997) • John Blacking, Music, Culture and Experience (Chicago, 1995) • Stephen Blum, Ethnomusicology and Modern Music History (Bloomington, 1991) • Constantin Brailoui, Problems of Ethnomusicology (Cambridge, 1984) • Simon Broughton (et al), World Music (London, 1994) • Martin Clayton, The Cultural Study of Music: A Critical Introduction (London, 2003) • Roy Everyman & Andrew Jamison, Musical and Social Movements - Mobilizing Traditions in the Twentieth Century (Cambridge, 1998) • Robert Falck, Cross Cultural Perspectives on Music (Toronto, 1982) • Peter Fletcher, Worlds Musics in Context (Oxford, 2001) • Simon Frith, World Music, Politics and Social Change (Manchester, 1989) • L. Green, Music in Society: Music on Deaf Ears (Manchester, 1988) • Otto Karolyi, Traditional African and Oriental Music (London, 1998) • Margaret J. Kartomi & Stephen Blum, Music Cultures in Contact - Convergences and Collisions (Sydney, 1994) • Richard Leppert, Music and Society (Cambridge, 1987) • Terry E. Miller, World Music: A Global Journey (New York, 2006) • Liang Mingyue, Music of the Billion: An Introduction to Chinese Musical Culture (New York, 1985) • Helen Myers (gol.), Ethnomusicology: An Introduction (London, 1992) • Bruno Nettl, Encounters in Ethnomusicology: A Memoir (Michigan, 2002) • Arnold Perris, Music as Propaganda (London, 1985) • David Reck, Music of the Whole Earth (New York, 1977) • Kay Kaufman Shelemay, Ethnomusicology: History, Definitions and Scope (New York, 1992) • Kay Kaufman Shelemay, Music as Culture (New York,1990) • John Shepperd, Music as Social Text (Cambridge, 1991) • Christopher Small, Music, Society, Education (London, 1977) • David Ian Allsobrook, Music for Wales - Walford Davies and the National Council of Music, 1918-1941 (Cardiff, 1992) • Osian Ellis, The Story of the Harp in Wales (Cardiff, 1991) • Sally Harper, Music in Welsh Culture before 1650 (Aldershot, 2007) • Sally Harper & Wyn Thomas (goln.) Welsh music history (Cardiff, 1994-2007) • Phyllis Kinney, Welsh Traditional Music (Cardiff, 2011) • Wyn Thomas, Welsh Traditional Music: A Bibliography (Llanrwst, 2008) • Gareth Williams, Valleys of Song: Music and Society in Wales 1840-1914 (Cardiff, 1998) • W. S. Gwynn Williams, Welsh National Music and Dance (London, 1933)

Compulsory in courses:

• W3AH: MA Music year 1 (MA/MUS)

Optional in courses:

• W3BJ: MA Music with Education year 1 (MA/MUSED)