Run by School of Arts, Culture and Language

40.000 Credits or 20.000 ECTS Credits

Semester 1 & 2

Organiser: Dr John Cunningham

1. to build on and enhance the skills acquired in the year 2 module "Notation and Editing"
2. enable the student to engage in a sustained independent scholarly enquiry in the field of musical editing
3. enable the student to communicate the results of this enquiry in an adequate fashion
4. to develop practical and widely applicable problem-solving skills
5. to develop the student's confidence in working with musical sources and making editorial decisions based on educated reasoning

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 the module coordinator, preferably by the start of the preceding summer. 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.

PLEASE NOTE: A single source project (unless that source is highly corrupt and/or incomplete and thus requiring an extended amount of editorial intervention or reconstruction) is a transcription. A transcription is not a critical edition in and of itself. Thus, most single-source projects are not suitable for an Edition project. An extended transcription plus commentary is better addressed (in terms of learning outcomes) under the Dissertation module. You thus typically need at least two sources; the more complex the relationship the better. It is essential to discuss any concerns you may have with the module coordinator in the first instance.

threshold

Please consult the Explicit marking criteria for Editing (available on my.bangor and in the module handbook) for more specific guidance on assessment criteria.

Work which displays basic, restricted knowledge of the subject, with simple ability at conceptual thought, and a limited awareness of issues, but has some evidence of a generally intellectual approach, with fair written and notational skills

good

Please consult the Explicit marking criteria for Editing (available on my.bangor and in the module handbook) for more specific guidance on assessment criteria.

The work should display a sound grasp of the subject, a good level of conceptual thought, awareness of the main issues, with evidence of intellectual acumen and good written and notaitonal skills

excellent

Please consult the Explicit marking criteria for Editing (available on my.bangor and in the module handbook) for more specific guidance on assessment criteria.

Work which displays a thorough grasp of the subject, with evidence of further study, deeper thought, originality of approach and excellent written and notational skills

1. On successful completion of the module, students will be able to demonstrate powers of sustained independent enquiry (under supervision) in the field of musical editing

2. On successful completion of the module, students will be able to develop and apply a sophisticated editorial method, based on current practices, appropriate to their editorial project

3. On successful completion of the module, students will be able to critically evaluate modern editorial methodologies

4. On successful completion of the module, students will be able to demonstrate their ability to solve complex problems of transcription and editing (including reconstruction, if appropriate to the project)

5. On successful completion of the module, students will be able to demonstrate advanced skills in communication

6. On successful completion of the module, students will be able to demonstrate enhanced skills in the search for, and the use of, primary and secondary scholarly material

Type	Name	Description	Weight
Written assignment, including essay	Edition	A submission will normally consist of the following elements (not of which is described here exhaustively – see the FORMAT OF SUBMISSIONS document, posted under Information on Blackboard). The word limits are suggestions only given to you as a guide, and will inevitably vary depending on the complexity of the editorial challenge: Introduction: Typically 750–1000 words. Description of sources: Typically 750–1000 words. Words (vocal music only): This section typically consists of the words in the original language(s) and in English translation; identification of the author and the textual source. Editorial Principles: Typically 300 words. Bibliography Edition: Typically 400 bars of average complexity, but this will vary depending on the nature of the edition: you must discuss this with the module coordinator well in advance of submission, and keep it under review as the project develops. If the music is not editorially complex you should discuss with the module coordinator other ways to expand the project to allow you to fulfil the relevant learning outcomes. Critical Commentary: The length of this section will vary depending on the project. The dimensions of the edition: While written submissions can be measured easily in words, there is no simple yardstick that suits editions of all kinds. As a rule of thumb, 10 credits are normally equivalent to 80–100 bars of a work of ‘average’ complexity. The module coordinator will advise on levels of complexity. But you must ensure that you discuss it with the coordinator in advance of submission as your definition of appropriate complexity may not be that held by the coordinator nor by the examiners.	80.00
INDIVIDUAL PRESENTATION	Presentation	Each student will be asked to give a 15-20-minute oral presentation on their edition topic. This is due in the assessment period of Semester 1. Detailed guidance on what to include etc. will be provided over the course of Semester 1 (see also module handbook).	10.00
REPORT	Review	Select a critical edition of music either by the composer(s) you are yourself editing or from the same genre/period. You are strongly advised to seek advice on choosing suitable editions from the module coordinator. Your task is to review the edition in the style of a published journal review (examples can be found in journals such as Early Music, Music and Letters etc). A bibliography is required.	10.00

		Hours
Supervised time in studio/workshop	Two three-hour peer-review sessions held in semester 2, normally held in the week before or after reading week and in the week before the Easter break. If the class size is small alternatives will be provided.	6
Individual Project	Individual supervisions with an allocated supervisor, amounting to a minimum total duration of 8 hours. It is the student’s responsibility to arrange supervisions. Supervisions will take place via a University approved platform such as Teams.	8
Private study	Including preparation for seminars and all assessments.	381
Seminar	Five seminars (four during Semester 1: in the second, fourth, sixth and ninth weeks of term, i.e. weeks 7, 9, 11, 15; and one in the fourth week of semester 2, i.e. week 25). The seminar in semester 2 will focus on formatting and layout etc.; those in semester 1 will focus on editorial issues and presentation preparation. Seminars will take place via a University approved platform such as Teams, and will be supported by online resources etc. Tasks / reading will normally be set as preparation: where team work is required it must be done online via a platform such as Teams.	5

• 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
• 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.
• Presentation - Able to clearly present information and explanations to an audience. Through the written or oral mode of communication accurately and concisely.
• Management - Able to utilise, coordinate and control resources (human, physical and/or financial)
• Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting
• Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others

• Musicianship skills – recognition, classification, contextualisation, reconstruction, exploration
• Intellectual skills specific to Music – contextual knowledge, cultural awareness, critical understanding, repertoire knowledge, curiosity, analytical demonstration
• 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.

Resource implications for students

None

Talis Reading list

http://readinglists.bangor.ac.uk/modules/wxm-3283.html

Reading list

https://rl.talis.com/3/bangor/lists/0633ECDE-3F69-3DD2-47C8-1D20E28FBF30.html?lang=en

Pre-requisites:

• WXM-2205: Notation and Editing

Compulsory in courses:

• W3P3: BA Astudiaethau'r Cyfr & Cherdd year 3 (BA/ACC)
• WW93: BA Creative Studies and Music year 3 (BA/CSTMUS)
• 32N6: BA English Literature and Music year 3 (BA/ELM)
• 32N7: BA English Literature & Music with International Experience year 3 (BA/ELMIE)
• VW23: BA Hanes Cymru a Cherddoriaeth year 3 (BA/HCAC)
• VW13: BA History and Music year 3 (BA/HMU)
• VW14: BA History and Music with International Experience year 3 (BA/HMUIE)
• WW39: BA Music and Creative Writing with International Experience year 3 (BA/MCWIE)
• W3H6: BA Music and Electronic Engineering year 3 (BA/MEE)
• WV33: Music & Hist & Welsh Hist (IE) year 4 (BA/MHIE)
• W303: BA Music (with International Experience) year 3 (BA/MIE)
• PW33: BA Media Studies and Music year 3 (BA/MSMUS)
• RW13: BA Music/French year 4 (BA/MUFR)
• WR32: BA Music/German year 4 (BA/MUGE)
• WR33: BA Music/Italian year 4 (BA/MUIT)
• W300: BA Music year 3 (BA/MUS)
• WW38: BA Music and Creative Writing year 3 (BA/MUSCW)
• W30F: BA Music [with Foundation Year] year 3 (BA/MUSF)
• WW36: BA Music and Film Studies year 3 (BA/MUSFS)
• WR34: BA Music/Spanish year 4 (BA/MUSP)
• VVW3: BA Philosophy and Religion and Music year 3 (BA/PRM)
• VW2H: BA Welsh History and Music year (BA/WHMU)
• QW53: BA Cymraeg/Music year 3 (BA/WMU)
• W304: BMus Music (with International Experience) year 3 (BMUS/MIE)
• W302: BMUS Music year 3 (BMUS/MUS)
• W32F: BMus Music [with Foundation Year] year 3 (BMUS/MUSF)
• H6W3: BSc Electronic Engineering and Music year 3 (BSC/EEM)