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

This is a provisional list of modules to be offered on this course in the 2018–19 academic year.

The list may not be complete, and the final course content may be different.

You can also view the modules offered in the years: 2016–17; 2017–18.

Find out more about studying and applying for this degree.

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Year 1 Modules

Compulsory Modules

Semester 1

  • WXM-1002: The Study of Music (jt-hnrs) (20) Core
    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) Core
    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. .
  • 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-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) or
    WXC-1010: Celfyddyd Sonig (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.
  • Students can only choose one of the four Harmony & Counterpoint modules.

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.

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.

20 to 40 credits from:

  • 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.
  • 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’.
  • 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.)
  • 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
  • WXM-2269: Arts in the Community (20) (Semester 1 + 2) or
    WXC-2269: Celfyddydau yn y Gymuned (20) (Semester 1 + 2)

Optional Modules

20 credits from:

  • QXP-2005: Transformative Writing (20) (Semester 1)
    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)
  • QXP-2009: Creative Non-Fiction (20) (Semester 2)
  • UXS-2033: Practical Digital Journalism (20) (Semester 1)
    The course will begin with an introduction to on-line journalism, the influence of new digital technology on journalism and its implications for traditional forms of media. We will also discuss the ethical and legal issues involved in producing on-line content. You will be taught a range of skills including how gather news on-line, write and produce visual and audio content for digital news platforms and how to ensure that content reaches a wide audience. You will be expected to put these skills into practice and create your own digital news platform, create content from that platform and distribute that content to the widest possible audience.
    or
    UXC-2033: Newyddiaduraeth Ddigidol Ymarf (20) (Semester 1)
    Bydd y cwrs yn dechrau gyda chyflwyniad i newyddiaduraeth ar-lein, dylanwad technoleg ddigidol newydd ar newyddiaduraeth a'i goblygiadau i'r cyfryngau traddodiadol. Byddwn hefyd yn trafod y materion moesegol a chyfreithiol sydd ynghlwm wrth gynhyrchu cynnwys ar-lein. Byddwch yn dysgu amrywiaeth o sgiliau yn cynnwys sut i gasglu newyddion ar-lein, ysgrifennu a chynhyrchu deunydd gweledol a sain i lwyfannau newyddion digidol a sut i sicrhau bod y cynnwys yn cyrraedd cynulleidfa eang. Bydd disgwyl i chi roi'r sgiliau hyn ar waith a chreu eich llwyfan newyddion digidol eich hun, creu cynnwys i'r llwyfan hwnnw a rhannu'r cynnwys hwnnw gyda'r gynulleidfa fwyaf eang posib.
  • UXS-2048: Transmedia Storytelling (20) (Semester 2)
    In this module you will investigate storytelling in its various forms, writing through an awareness of critical theory, and creating original work relating to your investigations. You'll develop an awareness of issues (critical and creative) connected with storytelling, and consider the range, type and style of stories (genres, media, perspectives). You will discover how cultural norms and assumptions influence the telling of stories, exploring and applying relevant critical theory from the perspective of a writer, and reveal through your original work the nature of authorship and readership.
  • UXS-2058: Writing for Film & Television (20) (Semester 2)
    This module is designed to develop knowledge and skills in writing for film, and introduces key stylistic and textual characteristics of writing for television. The module provides an overview of television writing, separated into television drama and the situation comedy, and outlines the specific demands of these formats for screenwriters. Students are then assessed on their own original television concept in the form of a treatment and screenplay extract, plus a short critical and reflective essay. The course then goes on to present advanced theories of writing for film - developing concepts of characterisation, structure, genre, visual storytelling and the use of dialogue and action. Students will be encouraged to engage with formal screenwriting concepts such as the three-act structure, genre tropes, active protagonists and plot resolutions. However, they will also be expected to interrogate and challenge these elements of screenwriting craft, and are expected to display this engagement in their assessed work. Students will be assessed on their own original film concept in the form of a treatment and screenplay extract (for a short film or feature film), plus a critical and reflective essay. Lectures will deliver various features of writing for television and film, using screenings as contextual support material. Lectures will initially present some basic concepts of screenwriting such as script formatting, style, structure, genre, plotting, characterisation and dialogue, before moving on to deal specifically with television drama, situation comedy, the short film and the feature film. Seminar time will be spent discussing various aspects of screenwriting outlined in the lectures. Students will be encouraged to engage with, and challenge, elements of the craft of screenwriting, and to carry out creative screenwriting tasks in groups. Students will also critically peer evaluate the work of their cohort, and analyse published screenplays, applying knowledge gained in the lectures. Students will be required to develop professional writing habits and to give and receive critically constructive comment and advice. Proposed films and television programmes to be screened include: The Sopranos (Chase, 1999-2007), The Wire (Simon, 2002-08), Red Riding (Jarrold, 2009), The Singing Detective (Potter, 1986), The Prisoner (McGoohan, 1967-68), Oz (Fontana, 1997-2003), Twin Peaks (Frost/Lynch, 1990-91), The IT Crowd (Linehan, 2006- ), Spaced (Wright, 1999-2001), The Office (Gervais/Merchant, 2001-3), Father Ted (Linehan, 1995-8). The Third Man (Reed, 1949), Brief Encounter (Lean, 1945), The Devil¿s Backbone (Del Toro, 2001), Intacto (Fresnadillo, 2001), Hunger (McQueen, 2008), Dead Man's Shoes (Meadows, 2004), The Sea Inside (Amenábar, 2004), The White Ribbon (Haneke, 2009), Festen (Vinterberg, 1998), Uzak (Ceylan, 2002), Sympathy for Mr Vengeance (Park, 2002), Let the Right One In (Alfredson, 2008), The Road (Hillcoat, 2009), Sexy Beast (Glazer, 2000), No Country for Old Men (Coen, 2007)
  • UXS-2150: 21st C. Writing & Publishing (20) (Semester 2)
    Students will have the option to either study a published work for its path to market, or to create their own digital or prose narratives, and explore publishing avenues. They will examine digital narratives in critical contexts, as well as the studying the design choices involved in publishing work for Digital Media (visual story, hypertext, website, interactive fiction, etc.) or e-publishing. They will explore the use of advanced hypermedia techniques such as using Flash, Inform7, Calibre, XML, html, etc. They may create stories in multiple modes of communication (text, visual, ludic, audio, etc.). They will also explore topics on the economic possibilities for writers in the digital age. The focus is on digital writing and the new publishing pathways.
  • UXS-2800: Game Design 2 (20) (Semester 1)
  • UXS-2801: Game Development (20) (Semester 2)

10 to 40 credits from:

  • WXM-2009: 20th Century Women Composers (10) (Semester 2)
    Musicology has in recent years been enriched by research that highlights the contribution made by women to Music & Music History.This module forms an introduction to some of the most important women musicians of the twentieth century, including: a. British: Ethel Smyth (1858-1944), Elisabeth Lutyens (1906-83), Grace Williams (1906-77) and Elizabeth Maconchy (1907-94). b. Europe: Cecile Chaminade (1857-1944), Germaine Tailleferre (1892-1983), Nadia (1887-1979) and Lili Boulanger (1893-1918). c. American: Amy Beach (1867-1944), Marion Bauer (1882-1955), Ruth Crawford Seeger (1901-53) and Louise Talma (1906-96). d. Established Contemporary Voices: Thea Musgrave (1928-), Sofia Gubaidulina (1931-), Kaija Saariaho (1952-) and Chen Yi (1953-).
  • WXM-2010: Zappa: the man and the music (10) (Semester 2)
    In this module, Frank Zappa’s music and life will be explored chronologically, starting from his beginnings as a young musician in Baltimore to his classical compositions towards the end of his life. The subject matter to be covered throughout the lectures and seminars will comprise: Zappa’s compositional styles and influences; his engagement in political issues (including censorship); humour and satire in his music; his classical works; his collaborations, and the legacy left by him.
  • WXM-2019: Opera: Monteverdi to Mozart (10) (Semester 2)
  • WXM-2020: 19th Century Symphony (10) (Semester 1)
  • WXM-2115: Minimalism (10) (Semester 2)
    This course will begin by looking at the use of the term Minimalism in art and music and trace its evolution in the early works of La Monte Young and Terry Riley. Discussion of Steve Reich's significant essay 'Music as Gradual Process', will be followed by the analysis of works by Reich, Glass, Adams and Torke, before looking at the contribution of European composers such as Pärt, Gorecki, Andriessen, Bryars, Skempton and Nyman.
    or
    WXC-2115: Minimaliaeth (10) (Semester 2)
    Bydd y cwrs hwn yn cychwyn gan edrych ar y defnydd o'r term Minimaliaeth mewn celfyddyd gain a cherddoriaeth, cyn olrhain esblygiad y term yng ngherddoriaeth La Monte Young a Terry Riley. Trafodir ysgrif arwyddocaol Steve Reich 'Cerddoriaeth fel Proses Raddol', cyn dadansoddi gweithiau Reich, Glass, Adams a Torke, ac yna edrych ar gyfraniad cyfansoddwyr Ewropeaidd megis Pärt, Gorecki, Andriessen, Bryars, Skempton a Nyman.
  • WXM-2153: From Dufay to Josquin (10) (Semester 1)
    Description: Numerous composers of the fifteenth and sixteenth centuries had well-deserved reputations in their day as excellent singers or renowned choirmasters. Nevertheless it is Josquin de Prez (d. 1521) whose reputation towered over those of his contemporaries, and continues to do so today. This module considers the music of Josquin alongside that of his contemporaries, such as Antoine Brumel, Pierre de la Rue, Loyset Compère, Jacob Obrecht and Heinrich Isaac, and examines the nature of musical production and distribution during Josquin's lifetime. Method, number and frequency of classes: Normally one class of 1 hour and 15 minutes per week for nine weeks, plus up to two individual consultations by arrangement. Assessment: One essay submitted in week 12 (80%); one seminar presentation of 10 minutes' duration (20%). Learning Outcomes: On completion of the module, the student should have: 1. acquired a reasonably detailed knowledge of the main compositional genres of the period, and of selected works by Josquin and his contemporaries 2. developed an awareness of the historical and cultural contexts which gave rise to this music 3. gained an awareness of the problem of anonymous music and composer attribution during the period 4. developed an enhanced perspective of the portrayal of one of the first 'great composers'
  • WXM-2157: The Music of Stockhausen (10) (Semester 1)
    This module forms an introduction to the music of the radical German composer Karlheinz Stockhausen (1928-2007). It will consider specific works by Stockhausen, as well as the issues they raise, and will do so from both historical and analytical perspectives. It will also aim to consider the music of Stockhausen in the context of works by other composers.
  • WXM-2189: Ligeti (10) (Semester 2)
    The Hungarian born György Ligeti established himself as one of the most distinguished composers from the second half of the twentieth century. This module will focus on a selection of his most well-known compositions (which features his orchestral Atmosphères and Melodien, his Violin Concerto, the opera Le Grand Macabre, the piano Études and selected chamber and vocal pieces), assessing his artistic contribution within the European cultural developments of the time while placing their significance within the composer’s creative and historical background. Close attention will be paid in identifying his distinctive style and composition techniques, and on how they shaped his independent and uncompromising creative output.
    or
    WXC-2189: Ligeti (Cymraeg) (10) (Semester 2)
    Sefydlodd y cyfansoddwr Hwngaraidd, György Ligeti, ei hun fel un o ffigyrau mwyaf blaenllaw ail hanner yr ugeinfed ganrif. Canolbwyntia’r modiwl hwn ar astudio detholiad o’i weithiau enwocaf (sy’n cynnwys y darnau cerddorfaol Atmosphères a Melodien, ei Gonsierto i’r Ffidil, yr opera Le Grand Macabre, yr Études i’r piano ac ambell i waith siambr a lleisiol arall), gan asesu ei gyfraniad artistig o fewn datblygiadau celfyddydol Ewropeaidd ei gyfnod. Gosodir eu harwyddocâd o fewn cefndir creadigol a hanesyddol y cyfansoddwr gan fanylu ar ei arddull unigryw a’i dechnegau cyfansoddi a’r modd y dylanwadodd y rhain ar ei allbwn annibynnol a digyfaddawd.
  • WXM-2209: Brazilian Music and Culture (10) (Semester 1)
    The module will explore some important Brazilian musical genres and relate these to cultural and political developments in the country. The impact of Brazilian popular music outside Brazil will be discussed as well as the effect of foreign music on the country. The module will give students the opportunity to familiarise themselves with several musical styles and artists. Key ideas for the analysis of the issues covered will also be discussed.
  • WXC-2216: Cerdd Cymru A: 20fed-g (10) (Semester 1)
    Er amled y cyfeiriadau ar hyd y canrifoedd at Gymru-'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.

0 to 30 credits from:

  • WXM-2187: Music, Health and Wellbeing A (10) (Semester 2)
  • 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.)
  • WXM-2207: Harmony & Counterpoint (Adv) (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-2234: 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.
    or
    WXC-2234: Cyfansoddi - Ffilm/Cyfryngau (20) (Semester 1 + 2)
    Amcan y cwrs yw rhoi'r medrau technegol a chreadigol angenrheidiol i fyfyrwyr er mwyn eu paratoi ym myd cerddoriaeth ar gyfer cerddoriaeth i ffilm, teledu a'r cyfryngau - maes o gyfansoddi sy'n llawn her ond yn bleserus iawn. Rhoddir cyfarwyddiadau ar feddalwedd a chaledwedd benodol (megis Logic Pro a sibelius), yn ogystal â sut i gydamseru delweddau â sain, defnydd allweddellau a pheiriannau samplo, a sut i gofnodi a chymysgu cerddoriaeth. Ar yr un pryd, cyflwynir darlithoedd ar bynciau sy'n ymwneud ag ymchwil, diwydiant a beirniadaeth ar arddulliau a genres cerddorol yn y cyfryngau. Dadansoddir enghreifftiau cerddorol o eiddo rhai o feistri'r ffurf, megis John Williams, Alexandre Desplat a Harry Gregson-Williams er mwyn i'r myfyrwyr gael dealltwriaeth o'r cyfrwng. Rhoddir sylw gweddol fanwl i'r goblygiadau ar fusnes a materion cyfreithiol. CO-REQUISITES: Gorau oll os oes gan fyfyrwyr brofiad o Cerddorfaeth (WXK2231 neu WXC2232) a Chyfansoddi (WXC2233 neu WXK2233) neu Gyfansoddi Acwsmatig (WXK2235), ond nid yw hynny'n orfodol.
  • 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-2270: Music Teaching in Context (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
  • 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.
    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
  • 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.
    or
    WXC-3288: Cyfansoddi (project) (30) (Semester 1 + 2)
    Mae’r project yn gyfle i fyfyrwyr dreulio cyfnod estynedig mewn gweithgaredd yn ymwneud â chyfansoddi, gan weithio tuag at greu gwaith, neu weithiau, ar raddfa a hyd sylweddol. Mae myfyrwyr yn cwblhau cyfansoddiad neu bortffolio o gyfansoddiadau ar gyfer unrhyw gyfuniad o offerynnau, lleisiau, adnoddau electroacwstig ac adnoddau stiwdio, dan gyfarwyddyd arolygwr. Bydd y cyfansoddwyr sydd ar y project yn cwrdd yn gyson fel grŵp i ystyried materion eang ac i rannu syniadau a dulliau. Dylai cyfansoddiadau ddangos dealltwriaeth drylwyr o’u genre, meistrolaeth ar y medrau technegol perthnasol, eglurder o ran bwriad creadigol, a pherthnasedd diwylliannol cyfoes o ran eu dull esthetig. Dylai myfyrwyr gyflwyno cyfansoddiadau ar ffurf sgôr wedi’i nodiannu, recordiad neu gyfuniad. Os yw’r gwaith yn cynnwys cerddoriaeth ar gyfer delwedd symudol, dylech hefyd gyflwyno DVD o gerddoriaeth wedi’i chydamseru â’r llun. Fel rheol, dylai’r darn neu’r portffolio gymryd rhyw 18 munud, trwy gytundeb â’r arolygwr, ac yn ôl y tempo, cymhlethdod y gerddoriaeth a nodweddion yr adnoddau offerynnol/ lleisiol/ electroacwstig a ddefnyddir. Gall portffolios gynnwys cymysgedd o wahanol genres. Nid yw’r modiwl hwn yn addas i fyfyrwyr sy’n dymuno cyfansoddi mewn arddulliau hanesyddol neu pastiche.
  • 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.
    or
    WXC-3289: Cyfansoddi (project) (40) (Semester 1 + 2)
    Mae’r project yn gyfle i fyfyrwyr dreulio cyfnod estynedig mewn gweithgaredd yn ymwneud â chyfansoddi, gan weithio tuag at greu gwaith, neu weithiau, ar raddfa a hyd sylweddol. Mae myfyrwyr yn cwblhau cyfansoddiad neu bortffolio o gyfansoddiadau ar gyfer unrhyw gyfuniad o offerynnau, lleisiau, adnoddau electroacwstig ac adnoddau stiwdio, dan gyfarwyddyd arolygwr. Bydd y cyfansoddwyr sydd ar y project yn cwrdd yn gyson fel grŵp i ystyried materion eang ac i rannu syniadau a dulliau. Dylai cyfansoddiadau ddangos dealltwriaeth drylwyr o’u genre, meistrolaeth ar y medrau technegol perthnasol, eglurder o ran bwriad creadigol, a pherthnasedd diwylliannol cyfoes o ran eu dull esthetig. Dylai myfyrwyr gyflwyno cyfansoddiadau ar ffurf sgôr wedi’i nodiannu, recordiad neu gyfuniad. Os yw’r gwaith yn cynnwys cerddoriaeth ar gyfer delwedd symudol, dylech hefyd gyflwyno DVD o gerddoriaeth wedi’i chydamseru â’r llun. Fel rheol, dylai’r darn neu’r portffolio gymryd rhyw 22 munud, trwy gytundeb â’r arolygwr, ac yn ôl y tempo, cymhlethdod y gerddoriaeth a nodweddion yr adnoddau offerynnol/ lleisiol/ electroacwstig a ddefnyddir. Gall portffolios gynnwys cymysgedd o wahanol genres. Nid yw’r modiwl hwn yn addas i fyfyrwyr sy’n dymuno cyfansoddi mewn arddulliau hanesyddol neu pastiche.
  • 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
  • SPECIAL PROJECTS: Students must choose at least ONE Project, either in Music or in other subject. Students are welcome to choose more than one project: either two in Music or one in each School.

Optional Modules

60 credits from:

  • QXP-3009: Working Class Fictions (20) (Semester 1)
  • UXS-3033: Practical Digital Journalism (20) (Semester 1)
    The course will begin with an introduction to on-line journalism, the influence of new digital technology on journalism and its implications for traditional forms of media. We will also discuss the ethical and legal issues involved in producing on-line content. You will be taught a range of skills including how gather news on-line, write and produce visual and audio content for digital news platforms and how to ensure that content reaches a wide audience. You will be expected to put these skills into practice and create your own digital news platform, create content from that platform and distribute that content to the widest possible audience.
    or
    UXC-3033: Newyddiaduraeth Ddigidol Ymarf (20) (Semester 1)
    Bydd y cwrs yn dechrau gyda chyflwyniad i newyddiaduraeth ar-lein, dylanwad technoleg ddigidol newydd ar newyddiaduraeth a'i goblygiadau i'r cyfryngau traddodiadol. Byddwn hefyd yn trafod y materion moesegol a chyfreithiol sydd ynghlwm wrth gynhyrchu cynnwys ar-lein. Byddwch yn dysgu amrywiaeth o sgiliau yn cynnwys sut i gasglu newyddion ar-lein, ysgrifennu a chynhyrchu deunydd gweledol a sain i lwyfannau newyddion digidol a sut i sicrhau bod y cynnwys yn cyrraedd cynulleidfa eang. Bydd disgwyl i chi roi'r sgiliau hyn ar waith a chreu eich llwyfan newyddion digidol eich hun, creu cynnwys i'r llwyfan hwnnw a rhannu'r cynnwys hwnnw gyda'r gynulleidfa fwyaf eang posib.
  • UXS-3048: Transmedia Storytelling (20) (Semester 2)
  • 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-3068: Wandering (20) (Semester 2)
  • 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 2)
  • 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-3126: Animation & motion graphics (20) (Semester 1)
    Keyframe animation, drawn animation, rotoscoping, stop-motion animation, infographic design, principles of design, elements of design, storyboarding and animation design, reflective practice, history of animation, major animation styles, current independent animations.
  • UXS-3150: 21st C. Writing & Publishing (20) (Semester 2)
    Students will create their own digital or prose narratives, and explore publishing avenues. They will examine digital narratives in critical contexts, as well as the practice of creating a complete work for Digital Media (visual story, hypertext, website, interactive fiction, etc.) or e-publishing. They will develop and make use of advanced hypermedia techniques such as using Flash, Inform7, Calibre, XML, html, etc. They may create stories in multiple modes of communication (text, visual, ludic, audio, etc.). Thep will also explore topics on the economic possibilities for writers in the digital age. The focus is on digital writing and the new publishing pathways.

0 to 30 credits from:

  • WXM-3009: 20th Century Women Composers (10) (Semester 2)
    Musicology has in recent years been enriched by research that highlights the contribution made by women to Music & Music History.This module forms an introduction to some of the most important women musicians of the twentieth century, including: a. British: Ethel Smyth (1858-1944), Elisabeth Lutyens (1906-83), Grace Williams (1906-77) and Elizabeth Maconchy (1907-94). b. Europe: Cecile Chaminade (1857-1944), Germaine Tailleferre (1892-1983), Nadia (1887-1979) and Lili Boulanger (1893-1918). c. American: Amy Beach (1867-1944), Marion Bauer (1882-1955), Ruth Crawford Seeger (1901-53) and Louise Talma (1906-96). d. Established Contemporary Voices: Thea Musgrave (1928-), Sofia Gubaidulina (1931-), Kaija Saariaho (1952-) and Chen Yi (1953-).
  • WXM-3010: Zappa: the man and the music (10) (Semester 2)
    In this module, Frank Zappa’s music and life will be explored chronologically, starting from his beginnings as a young musician in Baltimore to his classical compositions towards the end of his life. The subject matter to be covered throughout the lectures and seminars will comprise: Zappa’s compositional styles and influences; his engagement in political issues (including censorship); humour and satire in his music; his classical works; his collaborations, and the legacy left by him.
  • WXM-3019: Opera: Moteverdi to Mozart (10) (Semester 2)
  • WXM-3020: 19th Century Symphony (10) (Semester 1)
  • WXM-3115: Minimalism (10) (Semester 2)
    This course will begin by looking at the use of the term Minimalism in art and music and trace its evolution in the early works of La Monte Young and Terry Riley. Discussion of Steve Reich's significant essay 'Music as Gradual Process', will be followed by the analysis of works by Reich, Glass, Adams and Torke, before looking at the contribution of European composers such as Pärt, Gorecki, Andriessen, Bryars, Skempton and Nyman.
    or
    WXC-3115: Minimaliaeth (10) (Semester 2)
    Bydd y cwrs hwn yn cychwyn gan edrych ar y defnydd o'r term Minimaliaeth mewn celfyddyd gain a cherddoriaeth, cyn olrhain esblygiad y term yng ngherddoriaeth La Monte Young a Terry Riley. Trafodir ysgrif arwyddocaol Steve Reich 'Cerddoriaeth fel Proses Raddol', cyn dadansoddi gweithiau Reich, Glass, Adams a Torke, ac yna edrych ar gyfraniad cyfansoddwyr Ewropeaidd megis Pärt, Gorecki, Andriessen, Bryars, Skempton a Nyman.
  • WXM-3153: From Dufay to Josquin (10) (Semester 1)
    Description: Numerous composers of the fifteenth and sixteenth centuries had well-deserved reputations in their day as excellent singers or renowned choirmasters. Nevertheless it is Josquin de Prez (d. 1521) whose reputation towered over those of his contemporaries, and continues to do so today. This module considers the music of Josquin alongside that of his contemporaries, such as Antoine Brumel, Pierre de la Rue, Loyset Compère, Jacob Obrecht and Heinrich Isaac, and examines the nature of musical production and distribution during Josquin's lifetime. Method, number and frequency of classes: Normally one class of 1 hour and 15 minutes per week for nine weeks, plus up to two individual consultations by arrangement. Assessment: One essay submitted in week 12 (80%); one seminar presentation of 10 minutes' duration (20%). Learning Outcomes: On completion of the module, the student should have: 1. acquired a reasonably detailed knowledge of the main compositional genres of the period, and of selected works by Josquin and his contemporaries 2. developed an awareness of the historical and cultural contexts which gave rise to this music 3. gained an awareness of the problem of anonymous music and composer attribution during the period 4. developed an enhanced perspective of the portrayal of one of the first 'great composers'
  • WXM-3157: The Music of Stockhausen (10) (Semester 1)
    This module forms an introduction to the music of the radical German composer Karlheinz Stockhausen (1928-2007). It will consider specific works by Stockhausen, as well as the issues they raise, and will do so from both historical and analytical perspectives. It will also aim to consider the music of Stockhausen in the context of works by other composers.
  • WXM-3187: Music, Health and Wellbeing A (10) (Semester 2)
  • WXM-3189: Ligeti (10) (Semester 2)
    The Hungarian born György Ligeti established himself as one of the most distinguished composers from the second half of the twentieth century. This module will focus on a selection of his most well-known compositions (which features his orchestral Atmosphères and Melodien, his Violin Concerto, the opera Le Grand Macabre, the piano Études and selected chamber and vocal pieces), assessing his artistic contribution within the European cultural developments of the time while placing their significance within the composer’s creative and historical background. Close attention will be paid in identifying his distinctive style and composition techniques, and on how they shaped his independent and uncompromising creative output.
    or
    WXC-3189: Ligeti (Cymraeg) (10) (Semester 2)
    Sefydlodd y cyfansoddwr Hwngaraidd, György Ligeti, ei hun fel un o ffigyrau mwyaf blaenllaw ail hanner yr ugeinfed ganrif. Canolbwyntia’r modiwl hwn ar astudio detholiad o’i weithiau enwocaf (sy’n cynnwys y darnau cerddorfaol Atmosphères a Melodien, ei Gonsierto i’r Ffidil, yr opera Le Grand Macabre, yr Études i’r piano ac ambell i waith siambr a lleisiol arall), gan asesu ei gyfraniad artistig o fewn datblygiadau celfyddydol Ewropeaidd ei gyfnod. Gosodir eu harwyddocâd o fewn cefndir creadigol a hanesyddol y cyfansoddwr gan fanylu ar ei arddull unigryw a’i dechnegau cyfansoddi a’r modd y dylanwadodd y rhain ar ei allbwn annibynnol a digyfaddawd.
  • 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-3207: Harmony & Counterpoint (Adv) (20) (Semester 1 + 2)
    This course looks at the music of the baroque and classical periods in some depth. The first semester is given over to a study of Baroque harmonic and contrapuntal practice, with particular emphasis on the trio sonata. During the second semester, string quartet writing will form the basis of a close investigation of Classical procedures. Specially written course-books provide the basis for instruction in both semesters.
  • WXM-3209: Brazilian Music and Culture (10) (Semester 1)
    The module will explore some important Brazilian musical genres and relate these to cultural and political developments in the country. The impact of Brazilian popular music outside Brazil will be discussed as well as the effect of foreign music on the country. The module will give students the opportunity to familiarise themselves with several musical styles and artists. Key ideas for the analysis of the issues covered will also be discussed.
  • 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.
    or
    WXC-3234: Cyfansoddi - Ffilm/Cyfryngau (20) (Semester 1 + 2)
    Amcan y cwrs yw rhoi'r medrau technegol a chreadigol angenrheidiol i fyfyrwyr er mwyn eu paratoi ym myd cerddoriaeth ar gyfer cerddoriaeth i ffilm, teledu a'r cyfryngau - maes o gyfansoddi sy'n llawn her ond yn bleserus iawn. Rhoddir cyfarwyddiadau ar feddalwedd a chaledwedd benodol (megis Logic Pro a sibelius.), yn ogystal â sut i gydamseru delweddau â sain, defnydd allweddellau a pheiriannau samplo, a sut i gofnodi a chymysgu cerddoriaeth. Ar yr un pryd, cyflwynir darlithoedd ar bynciau sy'n ymwneud ag ymchwil, diwydiant a beirniadaeth ar arddulliau a genres cerddorol yn y cyfryngau. Dadansoddir enghreifftiau cerddorol o eiddo rhai o feistri'r ffurf, megis John Williams, Alexandre Desplat a Harry Gregson-Williams er mwyn i'r myfyrwyr gael dealltwriaeth o'r cyfrwng. Rhoddir sylw gweddol fanwl i'r goblygiadau ar fusnes a materion cyfreithiol. CYDOFYNION: Gorau oll os oes gan fyfyrwyr brofiad o Cerddorfaeth (WXK2231 neu WXC2232) a Chyfansoddi (WXC2233 new WXK2233) neu Gyfansoddi Acwsmatig (WXK2235), ond nid yr hynny'n orfodol.
  • 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)
  • WXM-3302: Fugue (10) (Semester 2)
    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.