DIPLOMA IN HIGHER EDUCATION: MUSIC

DIPLOMA IN HIGHER EDUCATION

MUSIC

Programme Handbook
2016-17
Validated by Middlesex University, London, UK

Programme Leader: Dr James Bunch

Student Name:

Institutional Link Tutor: Dr Adam Greig

Middlesex Link Tutor: Dr Franois Evans

KMMC Deiploma Certificate Programme Handbook 2015-16

DIPLOMA IN HIGHER EDUCATION: MUSIC

Information in alternative formats

This handbook can be found online at:

www.kmmc.in or by emailing Irshad Ahmed (irshad@kmmc.in)

If you have a disability which makes reading this handbook or

navigating our website difficult and you would like to receive
information in an alternative format, please contact the KMMC
Administration Office.

We can supply sections from this publication as

a Word document with enlarged type sent by email or
supplied on a CD or memory stick
printed copy on non-white paper
printed copy with enlarged type

Other formats may be possible. We will do our best to respond

promptly. To help us, please be as specific as you can and include
details of your disability.

Purpose and status of your student handbook

The purpose of this handbook is to provide you with information about your Programme of study and
to direct you to other general information about studying at KM Music Conservatory and information
about Middlesex University who validate this programme of study.

The material in this handbook is as accurate as possible at the date of production however you will
be informed of any major changes to the information in this handbook in a timely manner.

Your comments on any improvements to this handbook are welcome - please put them in writing
(an email will suffice) with the name of the handbook to Adam Greig (adamjgreig@gmail.com)

The University Regulations

This handbook must be read in conjunction with the Middlesex University available online at
www.mdx.ac.uk/regulations

KMMC Deiploma Certificate Programme Handbook 2015-16

CONTENTS
INTRODUCTION TO KM Music conservatory ............................................................................................. 4
INTRODUCTION TO MIDDLESEX UNIVERSITY .......................................................................................... 5
The Middlesex University Regulations.........................................................................................5
Welcome to KM MUSIC CONSERVATORY.................................................................................................. 7
Welcome from the Dean of the School of Media and Performing Arts, Middlesex University ................. 7
PROGRAMME LEADERS WELCOME ......................................................................................................... 9
CONTACTS AND COMMUNICATION ..........................................................................................................10
Programme staff list and contact details .................................................................................... 10
Student website ....................................................................................................................... 11
E-mail ...................................................................................................................................... 11
Your contact and personal details ............................................................................................. 11
YOUR PROGRAMME ..................................................................................................................................12
Programme structure diagram .................................................................................................. 12
Your First year ......................................................................................................................... 12
Your timetable.......................................................................................................................... 13
Your assessments.................................................................................................................... 13
Your Learning Resources ......................................................................................................... 14
Attendance requirements ......................................................................................................... 15
How to help enhance your programme...................................................................................... 16
Employability ........................................................................................................................... 17
LEARNING, TEACHING AND ASSESSMENT .............................................................................................18
Learning and teaching methods ................................................................................................ 18
Assessment methods ............................................................................................................... 19
Submission, receipt, marking and return of assessment ............................................................ 19
Assessment Feedback ............................................................................................................. 21
Progressing on your programme............................................................................................... 22
Academic Misconduct .............................................................................................................. 24
Appeals ................................................................................................................................... 24
SUPPORT ....................................................................................................................................................25
Academic Support .................................................................................................................... 25
Academic Support .................................................................................................................... 25
Support services at KM Music Conservatory ............................................................................. 25
Student Union membership ...................................................................................................... 27
Academic Calendar ...................................................................... Error! Bookmark not defined.
Diploma 1 Unit narratives ...........................................................................................................................35

3
INTRODUCTION TO KM MUSIC CONSERVATORY

Mission & Vision

Since its inception in 2008, KM Music Conservatory has worked to develop and nurture an
education in music for all who have the passion to learn.

Expanding the horizons of musicians in India, the conservatory creates an awareness of Western
Classical music and music technology, while fostering learning and growth of Indian Classical
Music.

Learning is facilitated in an environment to provide the highest order of education, offering

programmes designed to cultivate individual excellence, collaborative spirit, cultural exchange and
creativity.

KMMC provides students with a strong artistic, intellectual, and technical foundation for pursuing
professional careers in music; developing a new generation of artists to expand music as a unique
art form that can shape the culture of the 21st century.

K.M. Music Conservatory Organisational Structure

Dr Jimmy Bunch

4
INTRODUCTION TO MIDDLESEX UNIVERSITY
Although you will enrol at and attend KM Music Conservatory the Diploma Certificate is validated by
Middlesex University and therefore you are a student of both. Within Middlesex University the
programme is part of the School of Media and Performing Arts.

Being a Middlesex student means, in brief, the following:

If you successfully complete the programme you will receive the Middlesex qualification of
Diploma in Higher Education: Music
You may attend the appropriate Middlesex graduation ceremony.

This list is not exhaustive and therefore please contact the Programme Leader if you have any
questions about your entitlements as a Middlesex student.

The Middlesex University Regulations

The Diploma Certificate in Music abides by Middlesex University Regulations which are
available online at; http://www.mdx.ac.uk/regulations

Appeals
You should be familiar in particular with the Appeal Regulations and Procedures (Section G) as
KMMC and you have to act in accordance with these procedures if you submit an appeal:
http://www.mdx.ac.uk/aboutus/Strategy/regulations/sectiong.aspx

Academic Misconduct

You should be familiar with the Academic Misconduct regulations (section F) as both KMMC and
you have to act in accordance with these procedures in the case of any alleged academic
misconduct: http://www.mdx.ac.uk/aboutus/Strategy/regulations/sectionf.aspx

The following are also important documents which relate to the academic relationship between
KMMC and Middlesex University:

The Memorandum of Co-operation.

This is the formal agreement between Middlesex University and KM Music Conservatory on the
delivery of the Programme. The Memorandum, among other things, sets out the responsibilities
of both KM Music Conservatory and Middlesex University. If you wish to view this document
then please contact Irshad Ahmed (irshad@kmmc.in).

Quality Assurance Agency for Higher Education (QAA) UK Quality Code.

The QAA is an independent agency appointed by the UK Government to be responsible for

upholding the academic quality and standards of all universities and colleges in the UK. The
QAA produce the UK Quality Code which outlines the key expectations placed on all UK Higher
Education providers. In particular there is a specific chapter on how institutions should manage
partnership arrangements, such as the programme you are now enrolled on. This section is
chapter B10 Managing higher education provision with others.

5
The QAA also review higher education providers (including Middlesex) to ensure that it is
operating in line with the Quality Code and providing the best academic experience for its
students.

You can also learn more about Quality Assurance from watching two short videos designed
specifically for students in Higher Education, which are available on line at:
http://www.qaa.ac.uk/AssuringStandardsAndQuality/what-is-quality

6
WELCOME TO KM MUSIC CONSERVATORY
Welcome from the Dean of the School of Media and Performing Arts,
Middlesex University
We would like to offer the warmest welcome to you.

This programme handbook is important; keep it safe so that

you may refer to it throughout your studies. It contains an
overview of your programme and the content of its modules
and signposts key contacts, services and information you need
to progress through your studies and get the most out of
student life at KM Music Conservatory.

We will work with KM Music Conservatory to deliver an

excellent student experience so that you can build on your skills
and knowledge and achieve your full potential. In return we
expect you to engage actively in the learning process, to be
fully committed to your studies and determined to succeed.

In your early weeks you are not expected to absorb everything in detail but to be aware of main
documents and their content (including reading through this handbook and consulting the other
information sources flagged here). In particular as an enrolled student you have certain rights but
also specific responsibilities. If you have questions to ask, your first port of call should be the
KMMC Administration Office. Staff there will be pleased to help and direct you.

Media and Performing Arts at Middlesex University is a vibrant and dynamic School. We offer a
wide range of high quality undergraduate and postgraduate programmes from Advertising and
Television Production to Theatre Arts and Popular Music. Your programme at KM Music
Conservatory is validated by the University and supported by the relevant subject experts in the
School. There is a University Link Tutor allocated to your programme, and details of that person, the
role and how to make contact are included in this Handbook.

We continually revise the curriculum to remain absolutely up to date, so you can be assured that our
programmes, many of which contain work placements, remain current and innovative. Our
programmes are designed and taught by acclaimed performers, practitioners and researchers. They
will use all of their expertise, both personal and professional, to provide you with an outstanding
student experience.

We wish you every success with your study and look forward to congratulating you on your
achievements at graduation.

Professor Carole-Anne Upton

Dean

7
Message from Dr A. R. Rahman

I invite you to join me at the threshold of another eventful year at KM Music

Conservatory. I feel that out of many challenges, we have already
succeeded in the most daunting challenge of establishing musics presence
in higher education in India. The two classical traditions of Western and
Hindustani music that we are teaching here have a contemporary relevance
and potential for mass appeal, particularly alongside important
developments in Audio Technology.

Our strategy of making rapid advancements in music education in India has

helped us form international relationships and affiliations, primarily with Middlesex University, UK.
This approach has also encouraged us to initiate and construct new enterprises with further
investments and expertise, demonstrated by the move to our new state-of-the-art campus facility in
2013. We are exploring the fullest possibilities of technological self-reliance. Our progress is linked
with our ability to invent, improvise, adapt and conserve. We must not only constantly renew
ourselves, but also identify ourselves as part of the Institution of the Future.

As KMMCs stories of success continue to grow, doubts about the feasibility of pursuing full-time
musical study are beginning to subside. Young people are showing greater responsiveness to new
developments in music and are finding outlets for their aspirations. I experience the greatest
satisfaction in the knowledge that music is becoming an exciting and attainable goal for young
adults in this country. Let us revive our faith in the future of music. We are comrades in a mighty
adventure. Let us be worthy of the growth and journey of this noble Institution.

A. R. Rahman
Founder and Principal

Message from The Executive Director

This is an incredible time to continue your education with KM Music
Conservatory. Every year since our inception in 2008 we have worked to nurture
and groom talented students, sending them into the world as accomplished,
cultured and responsible individuals.

As the first institution of its kind in India, KM Music Conservatory has developed
an unmatched curriculum that spans musical traditions from East to West.
Bringing committed gurus from around the world, our exceptional faculty is dedicated towards your
education. In addition, our founder Dr. AR Rahman offers unbridled support and encouragement.

At KMMC, everything we do is an attempt to create a successful tomorrow. Providing diverse

education in music history, theory, composition and technology, we now match international music
education standards as an affiliate of Middlesex University, UK. Fulfilling a long time dream close to
Dr. Rahmans heart, we look forward to further expanding the horizons of KM students in India and
abroad!

We welcome you in sustaining an environment congenial to learning and nourishing our cause
towards becoming the The Future of Music, and converting your dreams into reality.

Sincerely,
Ms. Fathima Rafiq
Executive Director

8
ACADEMIC COORDINATOR & PROGRAMME LEADER WELCOME
KM Music Conservatory now enters its ninth year of running, and
sixth year of the collaborative partnership with Middlesex
University. The successes of these programmes grow from
strength to strength as our graduates and alumni continue on their
musical paths in India and further afield both at Middlesex
University and elsewhere. For many of you, this year will allow for
discovery, learning and creative expansion that will help you to
realise your dreams and ambitions as a young musician.

This year we welcome a host of new faculty, new opportunities and visiting guests and in addition to
the core faculty we hope to deliver an enriching and challenging programme. During the 2016-17
year, KM will undergo a programme re-validation, this is a point where we are able to make
significant changes to the shape of the curriculum and course that we teach you. I would ask for all
of your assistance in ensuring that this process goes smoothly and that you give your valuable
insights into the re-development of our courses to make sure that KM maintains its status as a
leading education provider within India.
As the senior year-groups within the institution it is vital that you all set an example for the younger
students. Demonstrate good behaviour and working practices and provide them with help and
support when the need it. The Student Body is now entering its fourth year of running, and I would
ask that you get involved in this body to support the extra-curricular life of KM.
I wish you all every success for the year, I hope you will make full use of the opportunities

Dr Adam J. Greig
Academic Coordinator

We are pleased to welcome you to the Diploma program here at KM Music

Conservatory. For those of you continuing studying with us from last year, and
for those joining us directly, we know that you will feel welcomed and
integrated into our musical community.
Now in its 9th year, our program is continually developing and integrating new
elements, and new perspectives. Accordingly, we are welcoming many new
faculty to our institution. Eric Frster, Aaron Coomer, and Natalya Nosova
have recently joined our vocal faculty. Each will bring a wealth of education,
experience, and enthusiasm that will make an already strong program even
stronger.
Our last academic year was active and dynamic one. We conducted workshops with Berklee
College of Music, ROLI, and Maya Azucena. We saw two performances of Hundredfoot Road, held
a contemporary music festival filled with polished performances by faculty and students alike,
witnessed repeat performances of Sound Unbound a concert of opera scenes, piano
performances, and a capella vocal arrangements by NAFS at the Sri Mutha Venkatasubba Rao
Hall. We showcased our many talents and dedication at the annual KM Day performances, and had
recitals by our piano faculty and many others besides.
This year we are planning a number of new initiatives, including internships and furthering projects
with ROLI, a composition exchange concert with our partners at Middlesex, frequent workshops with
international artists, and multiple opportunities for students to perform and show their projects. This
year is particularly crucial as we have the opportunity to revise and redevelop our entire slate of
programs, redesigning the flow of courses, and incorporating new content responding to your
interests and needs, as well as our ever-growing capabilities as an institution. I look forward to
hearing your feedback and ideas as the year progresses. Your voices are very important to this
process, and we love the enthusiasm and idealism you bring.
Dr James Bunch
Diploma Programme Leader

9
 CONTACTS AND COMMUNICATION
Programme staff list and contact details
The following members of staff are those who have a major input into your programme.

Programme Leader KM Music Conservatory Executive

Name: James Bunch Director
Telephone: +91 7338767438 Name: Fathima Rafiq
Email: j.bunch.81@gmail.com Telephone: +91 44 43444786
Email: fathima@kmmc.in

Middlesex University Link Tutor KM Music Conservatory Institution

Name: Franois Evans Link Tutor
Telephone: +44(0)208 411 5685 Name: Adam J. Greig
Email: f.evans@mdx.ac.uk Telephone: +91 9003098750
Email: adamjgreig@gmail.com

Teaching staff

Name Role Tel (+91) E-Mail

Teaching Staff
Matt Bacon Guitar 9940676355 baconme3@aol.com
James Bunch Diploma Programme Leader 7338767438 j.bunch.81@gmail.com
Aaron Coomer Voice/Choir 9599051145 ascoom02@gmail.com
Rajesh Dhavale Tabla 9791048357 thitdhir@gmail.com
Eric Frster Voice 7338706260 office@foersteric.de
Matteo Fraboni Percussion / Composition
Adam Greig Academic Coordinator 9003098750 adamjgreig@gmail.com
Gabriel Jones Piano
Anantha Krishnan Percussion 9445558784 misterdangam@gmail.com
Alexandra Mioza Keyboard Skills 9962998175 alexandra.minoza@gmail.com
Natalya Nosova Voice yevstolia@mail.ru
Lisa Sarasini Brass 7358461166 lisasarasini@googlemail.com
Munna Shaokath Ali Harmonium munna_ji_2007@yahoo.co.in
Humble Shine Hindustani Voice / Theory 9961423872 humbleshine@gmail.com
Anupam Roy Violin 9051044411 anupam.roy@mail.com
Cynthia Smith Foundation Programme Leader 9840388836 cynthia@kmmc.in
Deepak Sugathan Audio technology 9940354749 deepak.sugathan101@gmail.com
Asawari Waikar Hindustani Voice / Theory 9003290324 asawarisw@gmail.com

Technical Support
Vijay Technical Support 9003097067 vijay@kmmc.in
Riyasdeen Riyan Studio Support 9894094992 riyasdeenriyan@gmail.com

Administration
Irshad Ahmed Manager of Foundation & Diploma 9500073567 irshad@kmmc.in
Vijayalakshmi Manager of Accounts 9003032786 vijayalakshmi@kmmc.in

10
Student website
The main KM Music Conservatory Website can be found at: www.kmmc.in. We also have two active
public facebook pages at www.facebook.com/kmmcChennai and www.facebook.com/kmmusictech
and a closed access facebook account for students only at at
www.facebook.com/groups/kmmusicconservatory.

E-mail
During orientation you will register your e-mail address with us, this is the e-mail address that we will
use for all official contact with you therefore it is extremely important that you check this address
regularly and inform Irshad Ahmed (irshad@kmmc.in) immediately should you have need to change
your details.

Your contact and personal details

You should ensure that we are kept up to date of your contact details to ensure that all important
communication reaches you. To change any of your contact details, please contact Syed Irshad
Ahmed in the KM Music Conservatory Administration Office, or at irshad@kmmc.in.

11
YOUR PROGRAMME

Programme structure diagram

Your First year

The units you will study

In the first year of the Diploma you will study 4 units:

KMMC101 Indian Music Traditions 1
KMMC102 Western Music Histories & Analysis 1
KMMC103 Performance, Pastiche & Musicianship 1
KMMC104 Applied Music Technologies

In the second year of the Diploma you will study 4 units:

KMMC201 Indian Music Traditions 2

KMMC202 Western Music Histories & Analysis 2
KMMC203 Pastiche & Musicianship 2
And either:
KMMC204 Composition 1
Or
KMMC205 Performance 1

12
The full details of each unit can be found in the unit narratives in the Appendix of the Programme
Handbook. All units are compulsory and there are no options for alternatives.

Your timetable
You are allocated to timetabled lectures, labs, seminars, and workshops based upon your module
registrations. This timetable will be given to you during the orientation period and will be posted in
the KM Music Conservatory Lobby for reference.

If your timetable is incomplete or if you have any queries about your timetable then please contact
Adam Greig. You will be notified in advance of any changes to your timetable.

Your assessments
IMPORTANT: Assessment deadlines can change: please check your email and notices in the
KMMC lobby so you are aware of any changes.

This table includes details and submission deadlines for all Summative Assessment, which
determines your overall Unit grade. For further details on each unit, including the breakdown of
marks and details of formative assessment, see the Module Narratives later in the handbook.

Diploma 1 Summative Assessment Calendar

Week KMMC101 KMMC102 KMMC103 KMMC104

Indian Musical Music History & Performance, Applied Audio
Traditions 1 Analysis Pastiche & Technologies
Musicianship
114 Submission of Plan
and Bibliography
Analysis Assignments
1 and 2
Examination Pastiche 1 Individual Composition
Period 1 Musicianship 1 Viva Voce
Aural 1

15-28 Analysis Assignments Skills Test

3-4

Examination Recital Submission of Written Pastiche 2 Group Performance

Period 2 Written Exam Assignment Recital Reflective Report
Viva Viva Voce Musicianship 2
Coursework Aural 2
Submission

13
Diploma 2 Summative Assessment Calendar

Week KMMC201 KMMC202 KMMC203 KMMC204/205

Indian Musical Music History & Pastiche & Composition /
Traditions 2 Analysis 2 Musicianship Performance
114 Submission of Plan
and Bibliography
Analysis Assignments
1 and 2
Examination Written Exam 1 2 Compositions
Period 1 Pastiche 1 Performance Practice
Aural Test 1 Diary Semester 1
Musicianship Test 1
15-28 Analysis Assignments
3-4

Examination Recital Submission of Written Written Exam 2 3 Compositions

Period 2 Written Exam Assignment Pastiche 2 Performance Practice
Viva Viva Voce Aural Test 2 Diary Semester 2
Coursework Musicianship Test 2 Performance Recital
Submission

Your Learning Resources

The KMMC Learning Resource Centre

Assistant Librarian: Jaya

Opening Hours: Monday - Saturday 10am-5pm
Holiday Hours: Closed unless otherwise specified

The KMMC Library is an essential place to access websites and student portals for research, books
and sheet music and listening materials. It provides a quiet atmosphere to study and services to aid
student learning.

The KMMC Library is classified using a Dewey Decimal system of cataloguing. The assistant
librarian is on hand during opening hours to assist you with the collection.

Naxos www.naxosmusiclibrary.com

Username: kmmcmm Password: kmmcmm

Naxos music is one of the largest online catalogues of western classical repertoire available with
quality sound. Search the catalogue for classical music CDs, information on albums, biographies of
composers and artists, booklet texts and music reviews from industry magazines and critics. The
database includes learning and study materials.

JSTOR http://www.jstor.org

Username: KMMC786 Password: KMMC786

14
JSTOR is an online database of scholarly research material providing access to electronic copies of
journal articles and other publications. It is a service that helps scholars, researchers, and students
discover, use and build upon a wide range of content in a trusted digital archive of over one
thousand academic journals and other scholarly content. The music collection includes titles
published in the Netherlands, Croatia, Hungary, Germany, and France.

Students are encouraged also to seek research sources from outside of the KMMC Learning
Resources Centre.

Anna Centenary Library

Gandhi Mandapam Rd, Surya Nagar, Kottur, Chennai, TN 600085

The 6th floor of the Anna Centenary Library has an extensive collection of Western classical and
popular music books, covering performance, composition, theory, history & analysis. The collection
is one of the largest in India and far exceeds the current stock in the KMMC Library. These books
are rarely used and are available for reference in the study area on the 6 th floor.

Attendance requirements
Students should attend all scheduled classes and prescribed activities to be eligible for formal
assessment. If a student's attendance falls below a minimum of 80%, it will normally be deemed to
be too low to meet a unit's learning outcomes. Students with less than 80% attendance in a unit
may be excluded from the assessment of that unit and graded X = Fail - incomplete without good
reason: may not be reassessed. It is students responsibility to ensure that their attendance fulfils
the published attendance requirements. Prior warning (written or oral) of the intention to award an X
grade need not be given by the Programme Leader. Where attendance is required registers must be
kept. Registers are taken at the start of every taught session and maintained throughout the
semester.

The X grade is applied if students fail to participate in the learning processes of a unit for which
they have registered. It is not a punishment for poor attendance but a recognition that students
have not taken advantage of course delivery for assessment of the content of the unit. If students
receive an X grade, they may have the opportunity of taking the whole unit again with permission
from the Programme Leader, though students will have to pay the unit fee again.

For full details of applicable regulations on student attendance, see section C here:

http://www.mdx.ac.uk/aboutus/Strategy/regulations/sectioncug.aspx

KMMC Policy on Late Arrival

Punctuality is important to the undisrupted running of taught sessions at KMMC. If a student is more
than 10 minutes late to a timetabled session, the student may not be permitted to join that
session and the lateness could be counted as an absence, at the discretion of the course tutor.

15
How to help enhance your programme
How you can feed back to us
As well as talking to your module leaders or programme leaders about any issues, there are also
other ways you can feed back and help enhance the quality your programme.

Board of Study
This is a forum where student representatives and staff meet to discuss the Diploma Certificate
programme. This includes any issues but also talking about future developments and things that
are going well. The Board also looks at student survey results and the reports from External
Examiners. Your student representative is responsible for notifying the Board of issues which have
been brought to them by you. Minutes are made of the discussions and decisions of each meeting
and these are circulated to members with outcomes. The minutes are also considered by KMMC
and the School of Media and Performing Arts during an annual review period. The minutes are
available by contacting the Manager of Administration, Syed Irshad Ahmed (irshad@kmmc.in).

The membership of a Board of Study includes:

Student representatives (for more information about being a student rep see below)
Academic Coordinator
Manager of Foundation and Diploma Programme
Middlesex University Link Tutor
KMMC Link Tutor
Programme co-ordinator and other academic staff involved in the delivery of the programme
and/or modules
Support services representatives

The student representatives are elected by the end of week 4 to ensure that the interests of
students on the programme are represented. They are also responsible for feeding back the
outcomes of any meetings or events they attend. Student Representatives will be decided by a
nomination and voting system at the start of the course, further details will be announced at the start
of Semester One.

Student Representative are able to receive help with the role by contacting the Democracy and
Representation Administrator at Middlesex University Student Union (MUSU) who will be able to
provide advice and training materials:
http://www.musu.mdx.ac.uk/student_representation_contact

Meeting dates
The dates of the Board of Studies meetings can be found in the academic calendar at the beginning
of the Programme Handbook.

Student surveys
The Programme Feedback Survey takes place towards the end of the academic year and is
anonymous. The aim of this feedback process is to give you the opportunity to give your views on
the quality of your programme and your satisfaction overall.

It is important that you complete this survey as it helps us to identify what you think is going well and
what we need to address to continue to improve the student experience for you and future students.

16
Results of the survey are available by the start of the new academic year and each programme is
expected to produce a brief report or action plan to resolve any problems that have been identified.
This action plan will also be discussed during the Board of Study meeting with student
representatives.

Complaints

If you have a suggestion or a complaint about any aspect please raise it with the person concerned
in the first instance. If you are not satisfied with the outcome you can progress the matter through
informal and formal procedures step by step up the management structure of KMMC.

The complaints and grievance procedures of KMMC must be followed and have been fully
exhausted before you can follow the Middlesex University Complaints in relation to collaborative
partner institutions which can be found in the Middlesex University regulations:
www.mdx.ac.uk/regulations

How we consider your feedback

The feedback you give through your student reps, through surveys and at Boards of Study meetings
plays an important part in reviewing the Diploma Certificate programme during and at the end of the
academic year. Some of the changes we have made to the programme have been a result of
student feedback. For example, the assessment schedule and format for KMMC103 and 203 has
been modified this year to better reflect the work students undertake in this unit.

Employability
The development of transferable skills for example, team work, self-management, communication,
literacy and numeracy are all integral parts of your study at KMMC. For example, maintaining a
clear practice schedule with a reflective diary shows an ability to organise your own time
methodically and effectively. Critical thinking and writing in Music History develops abilities in
communication and presentation at a professional level. Aural Skills aid in listening and processing
information quickly, and demonstrate abilities in pattern recognition and analysis.

Although you will see how employability has been embedded in the Diploma Certificate curriculum,
it is your responsibility to seek out these skills and identify how they are covered.

Higher education in Music can provide access to the following careers:

Advertising Agent, Art and Creative Music Studios, Artist Management, Awards and Memorabilia,
Booking Agent, Broadcast Services, Business Consultant, Business Services, Music to
Choreography, Styling Services, Club Promoters, Computer Services (e.g. digital studios), Concert
Hire, Concert Performers, Conferences and Exhibitions, Digital & Internet Radio, Distributed Labels,
Distributors, Download and Mail Order Websites, DVD Companies (Music) , Education, Event
Management, Festivals, Financial Advisor (Music), Industry Accountant, Industry Organizations (e.g.
Guilds, Societies etc.), Insurance, International Music HQs, Legal (Music), Library Services,
Magazines, Mail Order, Mastering & Post-Production, Merchandise Companies, Mobile Delivery &
Distribution, Mobile Studios, Music Supervisors & Consultants, Newspapers, Online Delivery &
Distribution, Performer, Photographers and Agencies, Portals and Online Magazines, PR
Companies, Pressers and Duplicators, Print Media, Printers and Music Packaging, Producer
Management, Producers, Production Music, Promoters and Pluggers, Publishers and Affiliates,
Radio, Record Companies and Labels, Recording Studios, Recruitment Agencies, Rehearsal
Studios, Retail Services, Session Musicians, Session Fixers, Sheet Music Suppliers, Studio Design

17
& Construction, Studio Equipment Manufacture & Distribution, Studio Equipment, Hire & Sales,
Television, Ticketing Services, Touring & Stage Services, Travel & Transport Services, Venues,
Video Production, Web Design & Digital Services.

Your employability relies on you engaging with and understanding the importance of it. Once you
take ownership of your skills, KMMC can support your development in a variety of ways both within
and without your curriculum, by helping you to make sense of your experiences and understand
how to articulate your learning and development.

Personal Development Planning (PDP)

PDP provides you with the opportunity to assess the value of the skills and knowledge you are
developing and identify your future development needs. It offers a structured way to reflect on what
you are good at and what you need to improve. You will learn to review your own skill levels and
what you learn in different situations, including study, part time or voluntary work and other
activities. You should record your reflections and use them to help you plan your future
development, e.g. as an aid for marketing your skills to employers in recruitment processes.

In KMMC001 Academic Skills you will have had the opportunity to reflect upon your personal
development and consider how to actively use these reflections to develop your skills and plan your
future accordingly. You will also have developed career-specific skills such as designing a CV and
Biography. Faculty are available to discuss continuing study and career options after the Diploma
Certificate with you personally: if you would like to arrange a more formal meeting to discuss your
general progress and future options please contact Adam Greig at adamjgreig@gmail.com.

LEARNING, TEACHING AND ASSESSMENT

The learning, teaching and assessment approaches used throughout your programme will
encourage you to be actively involved in your learning and to co-operate with other students. We
aim to give you prompt feedback on your learning as well as opportunities to reflect upon and learn
from that feedback.

Learning and teaching methods

You will be actively involved in a range of learning, teaching and assessment approaches as part of
the Diploma Certificate. Such active approaches aim to put you at the centre of your learning so
you are involved and engaged in all aspects of your assessment and learning. Your programme will
require your active participation in learning activities and engagement with your fellow students both
individually and collaboratively, working and learning with other students as part of a small group.
Learning activities may also occur both within and outside the classroom.

Your learning will also be supported by technology. Increasingly your tutors will be using existing
and emerging learning technologies to engage you in e-learning activities. Your programme will be
facilitated using a variety of media and online tools which will allow you flexible access to a diverse
range of online resources and learning materials as well as collaborative tools with which you can
engage and learn with your peers. Not confined by the time and space associated with traditional
teaching methods you may take part in online discussions and learning activities from wherever you
are studying. Your tutors will provide any support you may need whilst learning online.

By engaging with e- learning you will also be developing skills which are essential for your learning
and are also highly valued by employers. These include: working flexibly, communication,

18
understanding of IT, team working and creating shared understandings based on quality resources
and access to global expertise.

Assessment methods
Assessment is an integral part of learning and is referred to as formative or summative.

Formative assessment is designed to give you feedback on your performance and how it can be
improved. As a result you will get detailed feedback on formative assessment but not a grade.
Formative assessment is an important part of the learning process and has been shown to help
students improve both their grades and their learning style.

Summative assessment measures the extent to which you have achieved the learning outcomes
of a unit and therefore the grade you will be awarded. Learning outcomes are the specific skills and
knowledge that you are expected to demonstrate in each unit. Summative assessment assesses
this achievement in a secure, fair and accurate manner. On the Diploma Certificate this includes
presentations, tests, coursework and composition portfolios and performance recitals.

Assessment may also involve self, peer or group approaches. For example, you may be asked
to self-assess your own work, indicating where you feel you have clearly demonstrated your
understanding and also identifying areas where can see you have room to improve. Assessment
may also be a peer process where students offer feedback on one anothers work. The group
assessment in your programme (KMMC001)requires you to demonstrate your ability to work as part
of a group and receive a group mark.

Please see the module narratives at the end of this handbook or your module handbooks for
more information about the specific learning arrangements for your modules.

Submission, receipt, marking and return of assessment

Submission and receipt of assessment

All coursework should be submitted to the KMMC Library. Deadlines are normally 12pm on day of
submission unless stated otherwise.

Exams

All examinations at KMMC take place within the assessment weeks scheduled at the end of each
Semester. The examination timetable will be circulated to students towards the end of each
semester, along with further instructions on exam regulations and how to prepare effectively.
Individual faculty will also provide exam preparation in each course unit, for example by holding
mock-tests and running revision sessions on taught material.

Marking, second marking and marking moderation

KMMC has a moderation and second-marking process for all examination and coursework
assessment.

Presentations, viva voce examinations and performance recitals

All presentations, vivas and recitals are independently marked by two members of Faculty, who
assess and grade the students work before discussing and agreeing upon the final grade. In
performance recitals the students instructor will, whenever possible, not be involved in the marking
process.

19
 Written examinations

Written examinations will normally be marked anonymously, by removing a coversheet with

students details before the marking process. All written exams will be moderated through a
sampling process involving a selection of upper/middle/lower grade bands. All failing papers will be
fully second-marked by a second member of Faculty.

Coursework

All summative coursework will be moderated by a second marker: depending on the unit this will
either involve full blind second-marking or a sample of upper/middle/low mark bands. All failing
coursework submissions will be fully second-marked by a second member of Faculty.

Moderation of borderline/fail candidates

The final grades for all Diploma course units are derived from a combination of coursework and
examination assessment: in cases where the final grade falls into a borderline category between
different pass bands or between the pass/fail boundary, the students work will go through an
independent moderation process by faculty before being submitted to the final Assessment Board.

Return of coursework

All coursework will normally be marked and returned to students within four weeks. Students
should keep all formative feedback to reflect upon and improve future work. Summative coursework
will be kept by Administration for submission to the annual Assessment Board: students will be
given copies of feedback forms

External Examiners
External Examiners are one way we assure the academic quality of your programme. They are
subject experts who help assure that your Middlesex award is comparable to that at other UK
universities by reviewing the programme curriculum, the assessment and the learning resources.
Among other things they attend the assessment board and write a report at the end of the year.
You can obtain a copy of this report by contacting Adam Greig.

The External Examiner(s) for the Diploma Certificate is:

Prof Tina K. Ranmarine, Professor of Music, Royal Holloway University of London

IMPORTANT: It is inappropriate for you or any other student to make direct contact with the
External Examiner. The appeal and complaints systems exist to allow you to express any
concerns you have, including the marks you have been given for your performance.

You can read more about the role of External Examiners and quality assurance on the QAA
website: http://www.qaa.ac.uk/AssuringStandardsAndQuality/what-is-quality/pages/default.aspx

20
Assessment Feedback
Feedback on your assessment (both formative and summative) provides the opportunity for you to
reflect on it and to use this feedback as the basis for learning and to improve your work

Feedback can take many forms and may be informal. For example it may be given and
discussed in the classroom or it may be more formal and delivered in written or audio form from
peers or academic staff. Understanding your feedback is very important and to achieve this you are
encouraged to discuss feedback with your peers and academic staff.

Receiving feedback on your work is an essential and important part of learning and therefore all
programmes provide regular opportunities for formative assessment, the purpose of which is to
get detailed feedback on your performance so you get a regular update on how you are developing
and to prepare you for any summative assessment. Feedback on summative assessment will be
offered in a variety of forms and all your work will be marked and moderated in line with the Code of
Assessment Practice which can be found in section M of the University Regulations:
mdx.ac.uk/regulations

On the Diploma Certificate your feedback will include verbal feedback in individual and group
tutorials, and written feedback forms (both electronic and hand-written). Feedback forms follow the
same format across different units, with check-box categories (Excellent/Good/Fair/Poor/Fail) to
indicate your achievement against the core marking criteria, followed by written comments on the
positive aspects of your work and on areas for future improvement.

You will normally be provided with feedback within 4 weeks of the published
submission date.

21
Progressing on your programme
Your grades

Your programme specification will give information on how the marks for different items of
summative assessment are combined to give your final grade. Additionally by reading the Grade
Criteria you can also understand the standard you must reach to achieve different grades. The
Grade Criteria can be found in Section M of the Regulations http://www.mdx.ac.uk/regulations

The University has a 1-20 grading scale, with grade 1 being the highest grade and 20 the
lowest, 16 is the minimum required to achieve a pass as illustrated in the chart below.

Grade Diploma Certificate in Music

14 Distinction
5-8 Merit
9-12 Pass
13-16 Pass
17 Fail marginal compensation allowed
18 Fail compensation allowed
Fail compensation not allowed including failure due
19
to incomplete submission of compulsory tasks.
Fail - Incorporating failure to participate in
20 assessment necessary to achieve all learning
outcomes. Compensation not allowed

Further administrative grades are also used to indicate re-assessment, deferrals and academic
misconduct etc. The full scale is contained in the Middlesex Regulations available online at;
http://www.mdx.ac.uk/regulations

If you have any questions about what your grades or status mean then you should contact Adam
Greig.

Programme regulations for progression and award

All students successfully completing the Diploma Certificate in Music at KMMC are usually given
direct entry to the third year of the Bachelors of Art (Music) programme at Middlesex University.

Your results
At the end of each academic year, your results will be considered and confirmed by an Assessment
Board. Once the Assessment Board has met you will be able to view your results and progression
status: your final transcript will be sent to you via email soon after the Assessment Board, and an
official paper copy will be available to collect at KMMC at your own convenience.

Certificates
When you graduate your final qualification certificate will be issued by Middlesex University and will
have the details of your qualification. It will include the words in collaboration with KM Music
Conservatory.

Your certificate will be sent to KMMC by Middlesex University within 4 months of the date the
qualification is awarded (usually the Assessment Board date). Once it has arrived you will be
notified to arrange for safe collection of your documents from the KM Administrative offices.

22
Full details of the information which will appear on your certificate are set out in the Middlesex
Regulations, section E13.5: http://www.mdx.ac.uk/regulations

Diploma supplement
All students are issued with a diploma supplement verified by Middlesex University which will state
KMMC as the institution where you studied. Your diploma supplement will include the units you
have taken, grades achieved and state your qualification with the classification and title. Additionally
it will also contain information on the nature, level, context, content and status of your studies
undertaken and successfully completed. Diploma supplements are intended to help external parties
such as employers or other higher education providers understand more about your programme in
addition to your grades.

Deferral of assessment

If there is a serious reason (e.g. serious illness, bereavement) why you are unable to complete any
summative assessment, it may be possible to defer assessment until a later date. In these
circumstances you must contact Irshad Ahmed (irshad@kmmc.in) as soon as possible to explain
the situation.

Deferral requests should be submitted to the KMMC Administration by completing a form

and attaching supporting documentation, e.g. medical certificates. The final deadline for
deferral applications is 2 weeks after the end of the examination period.

Extenuating Circumstances

If you do not wish to defer your assessment, but are concerned that personal circumstances (e.g.
illness) might affect your performance you can submit a claim for extenuating circumstances. Your
circumstances will be kept confidential but will be summarised by the Programme Leader and
brought to the attention of the annual Assessment Board. If you think this applies to you then please
contact Irshad Ahmed (irshad@kmmc.in)

It is important to note that extenuating circumstances are only considered when determining
the progression or final classification of borderline students. They cannot be used to
change the grade of a unit.

To submit a claim for extenuating circumstances you need to complete the relevant form, attach
supporting documentary evidence and submit both to the Administration Office. The final deadline
for submission of extenuating circumstances forms with supporting documentation is the last date of
the examination period. The extenuating circumstances form is available from the Administration.

Re-assessment

Although no one anticipates failing a unit, it is important that you are aware of what happens if you
do. Normally you will be entitled to one re-assessment opportunity if you dont pass and there is no
financial cost associated with this second attempt. All reassessment will take place at KMMC
following the annual assessment board, normally in mid-late July. You should contact Adam Greig if
you have any questions about re-assessment.

23
Academic Misconduct
Plagiarism is taking someone elses work or ideas and passing them off as your own. Remember
plagiarism isnt just restricted to essays or reports it can also happen with visual work as well. It
includes:
copying submission of someone elses entire work as your own. The original work could be
from the internet, a classmate, or a student in a previous year.
failing to indicate a direct quote (quotation marks should be used) in the text of an essay.
paraphrasing or synthesising material from a book, journal article or internet site without
acknowledging the source in the text.
composing a paragraph by joining together sentences from a number of sources and not
acknowledging these sources in the text.
Including quotations or paraphrased passages from written sources in a presentation without
acknowledging these sources in some form (i.e. verbally or on a handout )
using your own previous work in another assignment without acknowledging it.

The University and KM Music Conservatory will take serious action against any student who
plagiarises whether through negligence, foolishness or deliberate intent. You should therefore
make sure that you understand how to reference properly so that you can use another authors work
without plagiarising. Information on the correct way to acknowledge work from other sources is
available from the KMMC Moodle site.

Middlesex University Regulations for Academic Misconduct apply to the Diploma Certificate. These
are set out in the Middlesex University Regulations Section F which is available on line at:
http://www.mdx.ac.uk/aboutus/Strategy/regulations/sectionf.aspx. The terminology may not be
familiar as it refers to Middlesex University staff and Committees. If you are involved in any action
under these regulations and do not understand the process involved, please contact Adam Greig as
institution link tutor or Dr Franois Evans as the Middlesex University link tutor.

It is important that you are aware of what constitutes academic misconduct and section F of the
Middlesex University Regulations gives this in full: mdx.ac.uk/regulations

Academic misconduct also covers examinations. You should ensure that you read the exam
regulations before attending your exams to ensure you know what is expected of you and what is
permitted.

Appeals

All students are able to appeal against assessment board decisions and the outcome of academic
misconduct cases. The Middlesex University Regulations for Appeals apply to KMMC and these
are set out in Section G of the Regulations which is available on line at: mdx.ac.uk/regulations

If you are considering submitting an appeal against an Assessment Board decision then please
contact Adam Greig (KMMC Link Tutor).

24
SUPPORT
Although you are expected to be independent and to take responsibility for your own academic and
personal life, there is still a lot of help available to support you throughout your programme.

Academic Support
Although you are expected to be independent and to take responsibility for your own academic and
personal life, there is still a lot of help available to support you throughout your programme.

Academic Support
Academic staff
Your tutors will direct your studies and ensure that you know what work you need to cover in any
given module. Seek advice from academic staff either during their stated weekly office hours or by
email. Please see Contacts and Communication section for details.

Link Tutors
As stated on the front of this handbook the link tutor at KMMC for this programme is Adam Greig
(adamjgreig@googlemail.com) and the link tutor at Middlesex is Franois Evans
(f.evans@mdx.ac.uk). Both tutors are jointly responsible for ensuring the programme is delivered
according to the arrangements agreed when it was approved. Both link tutors stay up-to-date with
Board of Study meetings to hear the views of students on the programme, however you can contact
either if you have a query or suggestion.

Support services at KM Music Conservatory

Programme Advice

Students are expected to be independent and to take responsibility for their own academic and
personal life. However, there is a lot of help available.

Tutors will direct students' studies carefully and ensure that students know what work they need to
cover in any given unit. Students can seek advice from academic staff either after taught sessions,
during their office hours, or by email. Academic staff are only available during published
Conservatory teaching hours.

General Educational Guidance

General educational guidance, clarification of Conservatory Regulations and help with programme
planning, is available from the Head Representative and Vice-Head Representative of the Student
Association.
Counselling
If students seek personal advice, the Administration and Programme Leaders are available to talk
to, preferably by appointment so that any issues can be dealt with appropriately. Students can
receive a wide range of support, advice and information from their peers and by communicating
frequently with the Student Association Representatives.

General student support details are given at: http://www.mdx.ac.uk/facilities/support/index.aspx

25
International Student Support
For assistance with orientation, international students may wish to contact the Middlesex University
Counselling Office in Chennai at:

Middlesex University Counselling Office, Chennai

No. 1, 2nd Floor, Salzburg Square
107 Harrington Road
CHETPET
Chennai 600031

Tel. 044 28362965 /28362975 Email: channei@mdxsouthasia.com

General support for international students is also available from the UK via:
http://www.mdx.ac.uk/facilities/support/index.aspx

Disability Support Service

If students have a medical condition, physical difficulty, sensory impairment, mental health problems
or a specific learning difficulty (e.g. dyslexia) that they feel could impact on their studies and would
like information about support provision that can be made available, please contact the Programme
Leader or Manager of Diploma, Irshad Ahmed. Students are encouraged to make their situation
known at the earliest opportunity to ensure due provision is made. Support can include, but is not
restricted to: advice on Programme related study needs, arranging support such as note takers and
arranging special provision for tests and undertaking needs assessments for students applying or
support. Confidentiality will be respected and relevant details will only be disclosed with the
student's permission.

Health, Safety and Welfare

Student welfare is paramount to student success. Students with personal problems may wish in the
first instance, to contact their Unit Leader or Programme Leader to discuss these, as appropriate.
It is recommended that students new to Chennai register with a local doctor or medical practitioner
and make themselves familiar with local hospitals for emergency care.

Walk-ins are welcome at any hospital in Chennai. The closest hospital to the KMMC campus is:

Pallava Hospital, 19A, 1st Avenue, Ashok Nagar, Chennai

Apollo Hospital, No.21 Greams Lane, off Greams Rd, Chennai

See: http://www.chennai.apollohospitals.com

Health and safety procedures will be covered during the orientation week and are listed in the
Conservatory Regulations.

Students requiring psychological assistance may wish to contact:

Karthik Lakshmanan RM, Counselling Psychologist

Srinivasa Hospital
Details via: http://mycounselor.webs.com/

26
Student Union membership
As you are not attending a Middlesex University campus you are, unfortunately, not a member of
Middlesex University Students Union (MUSU). You are however still entitled to the following
benefits:

ISIC cards full time students only

As a full time student you can apply for an International Student Identification Card which will give
you discounts on travel, shopping and experiences world wide. http://www.isic.org/

International Youth Travel Card (IYTC) Part time students under 26 can apply for the International
Youth Travel Card (IYTC) which offers similar benefits to the ISIC. Again details are available from:
http://www.statravel.co.uk/cps/rde/xchg/uk_division_web_live/hs.xsl/ISIC-card.htm

Academic Calendar
Semester Dates:

Semester 1: Monday 1st August 2016 - Friday 16th December 2016 [Inclusive]
Semester 2: Monday 9th January 2017 - Friday 19th May 2017 [Inclusive]

Examination Dates:

Semester 1 Examination Period: Monday 21st November 2016 - Friday 2nd December 2016
Semester 2 Examination Period: Monday 24th April 2017 - Friday 5th May 2017
Reassessment Period: Monday 17th July 2017 - Friday 28th July 207

Board of Studies Dates:

Semester 1 Board of Studies: Wednesday 28th September 2016

Semester 2 Board of Studies: Wednesday 8th March 2017

Main Holidays:

Diwali: Thursday 27th October 2016 - Wednesday 2nd November 2016 [Inclusive]
Christmas: Monday 19th December 2016 - Friday 6th January 2017 [Inclusive]

Other smaller holidays for festival days and religious occasions will be announced in
advance of their occurrence.

27
Programme specification and curriculum map for DIPLOMA IN
HIGHER EDUCATION: MUSIC

1. Programme title Diploma in Higher Education: Music

2. Awarding institution Middlesex University
3. Teaching institution KM Music Conservatory
4. Programme accredited by Middlesex University
5. Final qualification DipHE Music
6. Academic year 2016-2017
7. Language of study English
8. Mode of study Taught

9. Criteria for admission to the programme

Students will normally be expected to have completed KMMC's Foundation Certificate or an
approved equivalent qualification. English language ability to IELTS 6.0 or equivalent, is expected.

10. Aims of the programme

The programme aims to cultivate to a high standard, theoretical and practical applications of
Western and Hindustani musics, including composition, and performance techniques for each
students first-study instrument. The programme aims to build on knowledge and techniques
learned in the Foundation Certificate year, and to develop each students potential as a
professional in the field of music. The Diploma programme also aspires to raise students to an
internationally-recognised, professional standard of performance, while cultivating the student's
potential for fusion of musical styles by the teaching of musics from both East and West.
Successful completion of the two-year Diploma Programme guarantees the student articulation to
the final third year at Middlesex Universitys Music Degree Programmes in London. Upon
successful completion of the third year at Middlesex University, the student will earn a Bachelor of
Arts degree in Music.

11. Programme outcomes

A. Knowledge and understanding
On completion of this programme the
successful student will be able clearly to
demonstrate a detailed knowledge and
understanding of:
1. music theory, music practice and the
relationship between these;
2. interrogation and analysis of musical
materials;
3. musical composition in a range of styles;
4. performance of Hindustani and Western
repertoires;
5. the relationship of music to historical,
philosophical, cultural and social
practices;
Teaching/learning methods
Students gain knowledge and understanding
through:
Lectures, seminars, tutorials, instrumental
lessons, participation in choir and concerts,
feedback on formative and summative
assessments, masterclasses.
Assessment Method
Students knowledge and understanding is
assessed by:
regular written and verbal feedback on
coursework during workshop, seminars, and
through formative and summative assignments
in a variety of formats.

28
6. current music technologies.
B. Cognitive (thinking) skills
On completion of this programme, the
successful student will be able to:
1. communicate a detailed familiarity with
Hindustani and Western music processes,
repertoires and traditions;
2. demonstrate critical engagement with, and
to relate historical and stylistic aspects of
music coherently;
3. apply and begin to evaluate the results of
analytical techniques in music;
4. relate compositional processes to their
communicative effects;
5. relate theoretical constructs in music to its
creation, performance and transmission;
6. demonstrate a detailed conception of
appropriate interpretative practice;
7. relate technological
C. Practical skills
On completion of the programme the
successful student will be able to:
1. analyse musical organization aurally and
from a written score;
2. begin to demonstrate through composition,
an advanced measure of personal
expression, imagination and inventiveness;
3. begin to demonstrate through solo and
ensemble performance, an advanced
ability to communicate through music,
employing appropriate technical and
interpretative means;
4. to begin to demonstrate an advanced
facility for musical improvisation whether
live or pre-conceived;
5. use up-to-date technology in the production
and processing of original music.
D. Pre-Graduate Skills
On completion of this programme the
successful student will be able to:
1. communicate to an advanced level;
2. work constructively in teams;
3. demonstrate confidence and passion in
their work;
4. work independently;
5. demonstrate flourishing organisational
skills;
6. apply numeracy & ICT in advanced
ways;
7. research and analyse in detail;
8. demonstrate a professional concern for
personal development
Teaching/learning methods
Students cultivate their cognitive skills through:
Engagement with regular practical and
theoretical exercises; contribution to
conservatory composition, choir and
instrumental concerts; performance workshops;
production of recordings, peer learning;
engagement with musical events outside of the
conservatory; private study; academic
engagement with the KM Music Conservatory
library and audio media facilities.
Assessment Method
Students cognitive skills are assessed by:
Regular written and verbal feedback on
coursework during workshop, seminars and
through formative and summative assignments
in a variety of formats including live and
recorded performance.
Teaching/learning methods
Students learn practical skills through:
Engagement with regular practical and
theoretical exercises (at which theory will
continuously be applied to musical examples);
contribution to Conservatory composition, choir
and instrumental concerts; performance
workshops; production of recordings; peer
learning; engagement with musical events
outside of the Conservatory; private practice.
Assessment Method
Students practical skills are assessed via:
Regular written and verbal feedback on
coursework during workshop, seminars and
through formative and summative assignments
in a variety of formats including live and
recorded performance.
Teaching/learning methods
Students acquire pre-graduate skills through:
Peer learning; regular formative and summative
oral and written feedback; interactive lectures,
workshops, seminars, tutorials, private study;
engagement with weekly and termly
assignments.
Assessment Method
Students pre-graduate skills are assessed via:
Formative and summative feedback; peer
feedback.
29
12. Programme structure (levels, modules, credits and progression requirements)
12. 1 Overall structure of the programme

30
12.2 Levels and modules

Starting in academic year 2010/11 the University is changing the way it

references modules to state the level of study in which these are delivered. This
is to comply with the national Framework for Higher Education Qualifications.
This implementation will be a gradual process whilst records are updated.
Therefore the old coding is bracketed below.
Level 4 (1)
COMPULSORY OPTIONAL PROGRESSION
REQUIREMENTS
Students must take all of None Four Level 4 Units to have
the following: been passed.
KMMC101
KMMC102
KMMC103
KMMC104

Level 5 (2)
COMPULSORY OPTIONAL PROGRESSION
REQUIREMENTS
Students must take all of Students must also choose Four Level 5 Units to have
the following: at least 1 from the following: been passed.
KMMC201 KMMC204
KMMC202 KMMC205
KMMC203

12.3 Non-compensatable modules (note statement in 12.2 regarding FHEQ levels)

Module level Module code
Level 4 KMMC101, KMMC102, KMMC103, KMMC104
Level 5 KMMC201, KMMC202, KMMC203, KMMC204, KMMC205

13. A curriculum map relating learning outcomes to modules

See Curriculum Map attached.

14. Information about assessment regulations

Please see:
http://www.mdx.ac.uk/regulations

15. Placement opportunities, requirements and support (if applicable)

Not Applicable.

31
16. Future careers (if applicable)
See Careers section of Programme Handbook

17. Particular support for learning (if applicable)

See Support section of Programme Handbook

18. JACS code (or other relevant coding

system)
19. Relevant QAA subject benchmark QAA Subject Benchmark Statements
group(s) Academic Standards Music 2008
QAA 249 05/08

20. Reference points

See:
http://www.qaa.ac.uk/Publications/InformationAndGuidance/Pages/Subject-benchmark-
statement-Music-.aspx

21. Other information

Not Applicable

Please note programme specifications provide a concise summary of the main features of the programme and the learning
outcomes that a typical student might reasonably be expected to achieve if s/he takes full advantage of the learning
opportunities that are provided. More detailed information about the programme can be found in the student programme
handbook and the University Regulations.

32
 Curriculum map for Diploma in Higher Education: Music

This section shows the highest level at which programme outcomes are to be achieved by all graduates, and maps programme learning
outcomes against the modules in which they are assessed.

Programme learning outcomes

Knowledge and understanding Practical skills

A1 Music Theory, Music Practice and the relationship between these C1 Analyse musical organisation aurally and from a written score
A2 Interrogation and Analysis of Musical Materials C2 Begin to demonstrate through composition, and advanced measure of
personal expression, imagination and inventiveness
A3 Musical Composition in a range of styles C3 Begin to demonstrate through solo and ensemble performance, an advanced
ability to communicate through music, employing appropriate technical and
interpretative means
A4 Performance of Indian and Western repertoires C4 To begin to demonstrate an advanced facility for musical improvisation
whether live or pre-conceived
A5 The relationship of music to historical, philosophical, cultural and C5 Use up-to-date technology in the production and processing of original
social practices music.
A6 Current music technologies

Cognitive skills Pre-Graduate Skills

B1 Communicate a detailed familiarity with Indian and Western music D1 Communicate to an advanced level
processes, repertoires and traditions
B2 Demonstrate critical engagement with, and to relate historical and D2 Work constructively in teams
stylistic aspects of music coherently
B3 Apply and begin to evaluate the results of analytical techniques in D3 Demonstrate confidence and passion in their work
music
B4 Relate compositional processes to their communicative effects D4 Work independently
B5 Relate theoretical constructs in music to its creation, performance and D5 Demonstrate flourishing organisational skills
transmission
B6 Demonstrate a detailed conception of appropriate interpretative D6 Apply numeracy & ICT in advanced ways
practice
B7 Relate technological design to musical function D7 Research and analyse in detail

D8 Demonstrate a professional concern for personal development

Programme outcomes
A1 A2 A3 A4 A5 A6 A7 B1 B2 B3 B4 B5 B6 C1 C2 C3 C4 C5 C6 D1 D2 D3 D4 D5 D6 D7 D8
Highest level achieved by all graduates
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

33
Unit Title Unit Code Programme outcomes
by Level A1 A2 A3 A4 A5 A6 B1 B2 B3 B4 B5 B6 B7 C1 C2 C3 C4 C5 D1 D2 D3 D4 D5 D6 D7 D8
Indian Music Traditions 1 KMMC101 x x x x x x x x X
Western Music Histories & Analysis KMMC102 x x x x x x x x x
1
Performance, Pastiche & KMMC103 x x x x x x x x x x x x x
Musicianship
Applied Music Technologies KMMC104 x x x X

Indian Music Traditions 2 KMMC201 x x x x x x x x

Western Music Histories & Analysis KMMC202 x x x x x x x x
2
Pastiche & Musicianship 2 KMMC203 x x x x x x x x
Composition 1 KMMC204 x x x x x x
Or
Performance 1 KMMC205 x x x x x x x x

34
DIPLOMA 1 UNIT NARRATIVES
Unit Code KMMC101
Unit Title Indian Music Traditions 1
Credit 30
Automatic Deferral No
Unit Leader Humble Shine

Aims
The aims of this unit are to instil in the student a detailed knowledge of and skills associated
with the rich traditions of North Indian music making, their musical systems, instruments,
their origins and development. These are presented in a historical and geographical context.
Lecture sessions are delivered followed up by book references, writing out articles or
essays.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

- The history and culture of North Indian music; [A1]
- Indian musical treatises and their theory; [A1, A5]
- A working understanding of Indian musical instruments, their inter-relationships and
performance traditions; [A4, B5, C3, C4]
- A study of the various Gharanas or school of vocal classical music in the Hindustani
Music
Tradition
- Insight to about 10 Rags practiced in the Indian classical music. [A5, B5, B6, C3,
C4]

Skills

By the end of this unit, the successful student will be able to:
- communicate the above through writing and project work; [A1, A5, B5, D8]
- perform or compose with the reference of the theoretical knowledge acquired from a
selection of syllabus topics presented. [A1, A4, A5, B5, B6, C3, C4, D8]

Indicative Theory Syllabus

The syllabus below is indicative of the content of the course but may vary at the unit leaders
discretion as per the needs of the year group

1 The history and evolution of Indian music. Up to the medieval period:

1.1 Origin of music a study of various theories associated with the origin
of music;
1.2 Brief survey of music during the stone age, the iron age and during
the Indus valley civilization;
1.3 Evolution of music during the Vedic age, including the study of musical
literature in the four vedas with special reference to samved;
1.4 Music in the Ramayan and Mahabharat;
1.5 Historical study of music evolution during the Buddha period, the
Puranas, Maurya, the Kanishk, the Gupta period;

2 A survey of the various musical treatise up to the Medieval period:

2.1 Bharat munis Natyashastra;

35
 2.2 Matang munis Brihaddeshi;
2.3 Naradiya shiksha by Narad;
2.4 Sangeet makrand;

3 A detailed chronological study of the various music system practised from ancient
time up to the present times:
3.1 Praband gayan;
3.2 Drupad gayan and the four banis of Drupad;
3.3 The existing Khayal system and its evolution
3.4 The various other styles prevalent such as Thumari. Tappa Holi, Kajari,
chaiti, gazal, qawwali;

4 The Gharanas or music school of the Indian vocal classical Music:

4.1 The Delhi Gharana;
4.2 The Lukhnow Gharana;
4.3 The Gwalior Gharana;
4.4 The Agra Gharana;
4.5 The Jaipur Gharana;
4.6 The Patiala Gharana;
4.7 The Kirana Gharana;

5 The Indian Musical Instruments:

5.1 Tat, Vitat Vadya - Veena, Sitar, Sarod, Santoor, Swarmandal and
Sarangi;
5.2 Avanaddh Vadya Pakhavaj and Tabla;
5.3 Ghan Vadya - Vanshi, Shehnai;
5.4 Sushir Vadya - Some popular instruments;

6 The theoretical study of the details of the following Rags:

1) Yaman
2) Bageshri
3) Desh
4) Miya-ki-malhar
5) Sudh Sarang
6) Ahir Bhairav
7) Kedar
8) Purya dhanashri
9) Gujri Todi
10) Malkaush
11) Yaman-Bada Khaya [Vilambit or Madhyaiay]

Indicative Vocal Syllabus Only for Voice students

1 A detailed study of some or all of the following rags:

1) Yaman
2) Bageshri
3) Desh
4) Miya-ki-malhar
5) Sudh Sarang
6) Ahir Bhairav
7) Kedar
8) Purya dhanashri
9) Gujri Todi
10) Malkaush
11) Yaman-Bada Khaya [Vilambit or Madhyaiay]

36
Chota khayal of each Rag in the prescribed Taal with simple improvisation alap and tans,
one bada khayal and one semi-classical piece from the any of above Rags.
Percussion Syllabus Only for Percussion students:

Specific details of the Tabla syllabus will be provided in the initial classes.

Harmonium Syllabus For all non-voice and non-percussion students.

A detailed study of some or all of the following Rags:

1) Yaman
2) Bageshri
3) Desh
4) Miya-ki-malhar
5) Sudh Sarang
6) Ahir Bhairav
7) Kedar
8) Purya dhanashri
9) Gujri Todi
10) Malkaush
11) Yaman-Bada Khaya [Vilambit or Madhyaiay]

Learning, Teaching and Assessment Strategies

Weekly lectures (1 hour) in the history and theory of Indian Musical Traditions and
performance workshops, master classes (1.5 hour), or individual lessons (0.5 hour as
alternate to group lesson at unit leaders discretion) which may include sessions from
visiting gurus; regular student practice time in spaces provided for students.

Assessment Scheme
Students must meet the subject's 80% attendance requirement to be eligible for
assessment.

Formative Assessment
Students will receive verbal and written feedback throughout the duration of the course both
in practical and written assignments in progress.

Summative Assessment

1. A written test paper [2 hours], during which the student will be asked to answer
short and detailed, previously unseen questions on diverse aspects of the course.
(20%) Viva voce [10 minutes, unseen] (10%)
2. A coursework project [of about 2000 words] from a choice of project descriptions
presented by the unit leader. Coursework project must be word processed in English
(20%).
3. A 15-minute recital during which the student will demonstrate their knowledge of
composition recital in Hindustani Classical Music style. Students will be provided with
specific details of the assignment depending on whether they are Voice, Percussion,
or Keyboard performers. (50%)

Students must have an overall pass grade, as well passing each of the three areas of
assessment (1, 2, + 3 above) in order to successfully complete the learning outcomes of the
unit.

Learning Materials
Tutor-provided learning resources. KM Music Conservatory Resource Centre.
Core Texts

37
Basant: Sangeet Visharad (Sangeet Karyalaya Haathras, 2007)
Jauhari, Shruti: Elements of Hindustani Classical Music, (D. K. Printworld, 2010)

Indicative Additional Texts

Bhatkhande, V. N: Hindustani Sangeet Paddhati Kramik Pustak Malika, Vols. Ito VI (Sangeet
Karyalaya Haathras, 2005).
Jha, Ramashray: Abhinav Geetanjali, Vol. I to V (Sangeet Sadan Prakashan, 2009).
Basant: Sangeet Visharad (Sangeet Karyalaya Haathras, 2007)
Tagore, S. M.: Universal History of Music (Chowkhamba Publications, 1965).
Prajnanananda, Swami: The Historical Study of Indian Music (Munshiram Manoharlal
Publishers, 2002).
Mukherji, Kumar Prasad: The Lost World of Hindustani Music (Penguin Books 2006).
Nadkarni, Mohan The Great Masters (Rupa & co. 2004).
Howard, W.: Samavedic Chant (New Haven,1977).
Bor, / Delvoye, / Harvey, / Nijenhuis, Hindustani Music Thirteenth to Twentieth Century
(Codarts, Manohar, 2010).
Moutal, Patrick, Hindustani Raga Index (Munshiram Manoharlal Publication, n.d.).
Saxena, Sudhir Kumar, The Art of Tabla Rhythm (n.p., n.d.)
Bor, Joep: The Raga Guide (Wyastone Estate Limited, 2002).
Reginald & Massey: The Music of India (Abhinav Publications, 1996).
Pingle, B. A.: History of Indian Music (A venture of low price publication, 2007).
Clayton, M.: Time in Indian Music (Oxford University Press, 2008).
Bhatkhande, V.N.: Music Systems in India (Eastern Book Linkers, 1984).
Courtney, David: Learning the Tabla (Mel Bay Publication, n.d.).
Rosenthal, Ethel: The story of Indian Music and its Instruments (Low Price Publications,
2010).
Dhond, M.V.: The Evolution of Khayal Sangeet Natak Academy (n.p., n.d.).
n.a., Encyclopaedia of Indian Music with special reference to Raags (Sri Satguru
Publications, 1988).
Menon, R.R: Penguin Dictionary of Indian Classical Music (Penguin Books, n.d.).
Bakshi, Harish: 101 Raags for 21st Century and Beyond (Trafford, n.d.).
Deva, B.C: Indian Music (New Age Publications, 1996).
Nadkarni, Mohan: The Great Masters (Rupa & Co., 2004).
Jairazbhoy, Nazir Ali: The Rags of North Indian Music (South Asia Book / Faber, 1995).
Sharma, Manorama: Traditions of Hindustani Music (n.p., n.d.).
Bake, A. A.: New Oxford History of Music (Chapter IV, i) (Norton, 1957).
Nijenhuis, Emmie te: Indian Music, History and Structure (Leiden /Brill, 1974).
Nijenhuis, Emmie te: Sangitasiromani: Medieval Handbook of Indian Music (Brill, 1992).

Journal Articles
Gonda, J. (Ed.) Musicological Literature A History of Indian Literature, VI, fasc. 1 (1977).
Jairazbhoy, N. A. An Interpretation of the Twenty-two Srutis; in Perspectives on Asian music:
essays in honor of
Dr Laurence E. R. Picken, Asian Music, VI 1 & 2 (1975).
Kunhan Raja, C. Translation of the First Chapter of the Samgitaratnakara of Sarngadeva,
Adyar Library Series, 51 (1945).
Natak, Sangeet (Ed.), Journal of Indian Music (New Delhi).
Widdess, D. R. The Kudumiyamalai Inscription: A 17th_Century Source of Indian Music in
Notation, Musica Asiatica, II (1979).

Total Notional Learning Hours

28 X 1hr Lectures = 28 Hours
28 X 1.5hr Workshop = 42 Hours
28 X ~8hr Self-Study = 230 Hours
Total =300 hours

38
Unit Code KMMC102
Unit Title Western Music Histories & Analysis 1
Credit 30
Unit Leader Anupam Roy

Aims
This unit aims (i) to instil in the student an understanding of the history of Western music
from the Renaissance to late Classical periods and (ii) to develop a familiarity with basic
forms of music analysis. Students are taught to relate the results of analyses to the relevant
historical and cultural context so as to inculcate more detailed and historically grounded
insights into the musical traditions and styles covered during the course.

Learning Outcomes

Knowledge
1. On completion of this unit the successful student will have gained:
2. a detailed overview of the history and cultural traditions of Western music from
the
Renaissance to the late Classical period; (A1, A6)
3. an understanding of methods for basic forms of music analysis; (A2)
4. an understanding of the relationships between the results of analyses and the
cultural contexts which cause them. (A1, B3)

Skills
5. By the end of this unit, the successful student will be able to:
6. communicate knowledge of Western music from the Renaissance to late
Classical
periods in historical and cultural terms ; (D1, C5)
7. analyse music using basic analytical techniques to reveal deeper structures in the
music; (C1, D7)
8. relate the results of music analysis to appropriate historical and cultural contexts
(D4)

Syllabus

The following is an indicative summary of areas covered by the course; some areas will be
covered in greater detail than others.

Music History

Baroque: The European Renaissance; Baroque church, occasional, opera and instrumental
music; origins & foundations of the Baroque ideal; recitative; the sacred concerto; lute &
keyboard music in Europe; French opera; mid-century Italian cantata, oratorio and opera;
sonata, concerto & sinfonia; J-B. Lully to A. Scarlatti; dramatic music in England; European
sacred music; J. S. Bach; notions of 'Classicism' in music; late Baroque and Rococo styles;
the pre-Classical symphony.

Classicism: Historical background to the Classic period; Haydn & Mozart; musical categories
of the Classic period; the Classic symphony; sonata; concerto; chamber music, divertimento
and serenade; Classic opera; sacred music of the Classic era; Beethoven from Classicism to
Romanticism; transition towards the Romantic ideal of the above mentioned styles, forms
and genres of the Classical Period.

39


Music Analysis

Tonal harmony & analysis of: dual melodic lines; three- and four-part melodic writing;
aspects of harmonic progression; special treatments & idioms. Formal approaches to music
analysis such as motivic analysis and Schenkerian reduction.

Learning, Teaching and Assessment Strategies

Weekly 1.5 hour lecture in music history
Weekly 1.5 hour seminar in harmony and analysis
Occasional seminars at which students' analyses are examined and worked on.
Independent study: 8 hours per week

Assessment Scheme

Students must meet the subject's 80% attendance requirement to be eligible for
assessment.

Formative

According to the published Assessment Schedule, in the week immediately following week
14, students will receive written, formative feedback on draft versions of summative work in
progress including the Media Project and at least 2 of the five music analyses.

Summative

1. Research Project: A 3000-word coursework essay; OR 3000-word website; OR 20-minute

radio/podcast; OR 15-minute video documentary; OR annotated research portfolio from a
choice of questions and/or topics presented by the unit leader. If selected as an option, the
annotated research portfolio will comprise professionally-presented materials collected from
a wide range of types of source [including books, journal articles, radio broadcasts,
recordings, the internet, personal interviews etc.]. Stipulations for presentation format(s) will
be given in the assignment sheets early in the term. The chosen format must be approved
by the Unit Leader in advance for all formats other than the 3000-word essay. (Plan and
Annotated Bibliography 10%; Research Project 35%) (1, 6, 8)

2. A folder of four music analyses independently completed through the course, and
demonstrating the student's ability to analyse music using the range of analytical techniques
indicated in the syllabus. (45%) (2, 5, 7)

3. A 10-minute viva voce on one of a choice of topics presented to the student 24 hours
before the viva. The chosen topic must be different from that covered in assessment section
1. above. (10%) (3, 4)

(Bracketed numbers show learning outcomes assessed.)

Assessment Weighting

Research project (Plan and Annotated Bibliography 10%; Research Project 35%)
Music analysis (45%)
Viva voce (10%)

40
Students must pass the Research Project and the Music Analysis as well as obtaining an
overall pass in the unit.

Learning Materials

Tutor-provided materials (including web-published PowerPoint presentations, class

handouts).

Core Text
Burkholder, J. P., Grout, D. J. and Palisca, C.: A History of Western Music. (New
York: Norton, 5th edition, 2009)

Indicative Additional Texts

Bray, D.: Keyboard Musicianship Book 1. (Trinity College London, 1997).

Cook, N.: Music - A Very Short Introduction. (Oxford: OUP: 2000)
Rosen, C.: The Classical Style. (London: Faber & Faber, 2005)
Rushton, J.: Classical Music. (London, Thames and Hudson, 1989)
Hitchcock, H. W.(ed).: Prentice Hall History of Music. History (New Jersey: Prentice
Hall,1988) 8 vols.
Kerman, J.: Contemplating Music: Challenges to Musciology. (Cambridge,Mass:
Harvard University Press 1985)
Sadie, S. (ed).: The New Grove Dictionary of Music and Musicians. (London:
MacMillan, 2001)- selected articles on specific composers and their works, as
directed.
Strunk, O. & Treitler, L.: Source Readings in Music History. (Revised edition)
(Norton, 1998).
Taruskin, R.: Oxford History of Western Music (Vols I-V). (Oxford University Press,
2009).

Online Materials
Adams, Ricci: Music Theory
http://www.musictheory.net/
Alvira, Jos: Music Theory Web
http://www.teoria.com
Belkin, Alan: General Principles of Harmony
http://www.musique.umontreal.ca/personnel/Belkin/bk.H/index.html
History of Western Music by Grout & Palisca - Online Help Pages
http://www.wwnorton.com/college/music/grout7/home.htm
Open University Openlearn Learning Space Music Units
http://openlearn.open.ac.uk/course/search.php?search=Music
Oxford Music Online (requires subscription)
http://www.oxfordmusiconline.com
Pankhurst, Tom: Tonality Guide
http://www.tonalityguide.com
(Accessed 10/2010.)

Notional Learning Hours: 300

History lecture: 1.5 hr/week +
Analysis seminar: 1.5 hr/week =
Total: 84 contact hours + 216 individual study hours

41
Unit Code KMMC103
Unit Title Performance, Pastiche & Musicianship 1
Credit 30
Pre-requisites -
Unit Leader Adam Greig

Aims

This unit is designed:

1. to develop students' performing abilities within an historical context;

2. to cultivate theoretical, analytical and musicianship (including auricular) skills for
compositional pastiche writing, so as to develop an understanding of musical
theory.

The unit begins with a focus on Baroque harmony (and its performance) and moves to a
practically informed study of salient techniques and aesthetics of the late Classical period in
its second half. This enables the student to develop:

(i) a thorough knowledge of common-practice harmony, the styles and techniques

of classicism, an awareness of the fundamental musical elements and their
interrelationships through processes of analysis and pastiche composition;
(ii) musicianship and aural skills;
(iii) a practical understanding of historically-informed performance techniques;
(iv) aesthetic knowledge and understanding, especially of Western Baroque
repertoire and late Classical styles.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

1. the technical requirements of their instrument or voice (A4)
2. Western musical styles and repertoires from the late Renaissance to the late
Classical periods (B6)
3. musical elements and concepts related to that repertoire (B4)
4. tonal composition techniques and their extension through harmony, form and
performance practice from the Baroque to late Classical periods (A3)
5. musical language and aesthetics of these periods (B2, B4, B6)

Skills

By the end of this unit, the successful student will be able to:
6. demonstrate the development of a stage presence (C3, C4 D2, D3)
7. to communicate stylistic understanding through their performance (C3, D1, D8)
8. inform musical practice from theoretical knowledge (C2, D5)
9. demonstrate competence in a range of aural, analytical and musical skills (C4, D3)

42
Syllabus

Solo and ensemble performance are developed, contextualised and informed by the
concurrent study of:

Topic 1
- Common-practice harmonic concepts and their practical application from historical
context.
- Aural skills: melodic transcription; chord-, cadence- and modulation-recognition
- Musicianship skills: sight-singing; melodic improvisation; score-reading; keyboard
harmony.
- Aesthetic and stylistic knowledge of Western Baroque music.

Topic 2
- Techniques of Classical tonal harmony and composition in theory and practice:
- Aesthetic and stylistic knowledge of Western Classical musical movements as
these
affect sound and performance practice, e.g. Rococo; sturm und drang; the grand
manner; eighteenth century topics
- Aural skills: melodic transcription; chord, cadence and modulation recognition
- Musicianship skills: sight-singing, melodic improvisation, keyboard harmony

Learning, Teaching and Assessment Strategies

There are three principal taught components:

- Performance master classes and weekly 1st-study instrumental lesson. (1hr Master
class, 1hr Individual Lesson, 1 hr studio class with principal teacher)
- Musicianship Skills & Aural (1 hour per week).
- Workshop (1.5 hour per week): exploration and study of the harmony and styles of
the common practice era through listening, practical harmonic analysis and pastiche
composition exercises.
-1 hour Keyboard Skills / Sight Singing per week (alternating)
- Occasional seminars and workshops with visiting specialists
- Independent study (7 hours per week).

Assessment Scheme

- Formative Assessment
- Around week 8 and 21 of the course, a report will be given on performance
progress during the semester.
- Formative assessment: musicianship skills and aural skills assessed throughout the
course, using class exercises and small tests with written feedback.
-Formative feedback will be given on class exercises in pastiche during the course.

- Final assessment (all summative):

-1) 15-minute solo or ensemble recital (at the discretion of the unit leader) of
music including the styles pertaining to the syllabus. Performers may use an
accompanist. Performances less than 12 min will be considered as too short for
consideration and awarded a mark of Mdx 19 (50%) (1, 6, 7)
- 2) 2 Pastiche compositions; 1 using Baroque techniques (e.g. species counterpoint,
fugue), and one demonstrating Classical techniques (theme and variations, string
quartet). The first is to be submitted at the end of semester 1 and the second at

43
 the end of semester 2, both must be accompanied by a 200-word commentary
discussing the stylistic traits used. (15% + 15%) (2, 3, 4, 5, 8)
- 3)Musicianship skills assessment in first and second semester (5% + 5%) (9)
Aural skills test in first and second semester (5% + 5%) (9)
(Bracketed numbers show learning outcomes assessed.)

Musicianship tests will include assessment of the student's abilities in sight reading, sight
singing, melodic improvisation, test of harmonic understanding (improvised harmonization)
on polyphonic instrument (e.g. piano, guitar, harp, organ etc.) At the discretion of the unit
leader, students may be given the option of preparing the test of harmonic understanding in
advance of the test. Aural skills test will cover dictation, harmonic progressions, chordal
inversions, modulations, cadence recognition and aural awareness in relation to musical
terminology.
Candidates must attain an overall pass as well as cumulative passes in areas 1), 2) and 3)

Assessment Weighting

- 50% Performance
- 20% Musicianship & aural skills
- 30% Pastiche

Learning Materials

Core Texts
- Kostka, Stefan & Payne, Dorothy: Tonal Harmony: With an Introduction to 20th-Century
Music
(McGraw Hill Higher Education, 2009)
- Benjamin, Thomas E., Horvit, Michael & Robert S. Nelson: Music for Sight Singing.
(Cengage Learning, Inc., 5th Edition).
-Music in recordings and scores, as directed.
-Lecturer created handouts and notes made available on KMMC Moodle.
Indicative Additional Texts
- Bowman, D. & Terry, P.: Aural Matters in Practice: Advanced Tests in Aural Perception
Based
on 'The Essential Hyperion' CD. (Schott, 1994).
- Cleland, K. D. & Dobrea-Grindahl, M.: Developing Musicianship Through Aural Skills.
(Routledge, 2010).
- Smith, R.: Aural Training in Practice Grades 6-8 Book 3. (ABRSM, 1995).
- Sturman, P.: Harmony, Melody and Composition. (London: Longman, 1983)
- Pilling, D.: Harmonisation of Melodies at the Keyboard, Book 1. (Forsyth, 1950)
- Sadie, S. (ed).: The New Grove Dictionary of Music and Musicians. (London: MacMillan,
2001)
- Wright, D.: From Extemporisation to Improvisation. (London: Trinity College, 1997)
Online Aural training websites listed at:
www.teoria.com
www.musictheory.net/

Notional Learning Hours: 300

-1st Study Instrument Lesson: 1hr / week +
- Musicianship Seminar: 1hr / week +
-Pastiche Lecture: 1.5hr / week
- Performance Masterclass/Studio: 2hr / week
= 154 hrs + 146 hrs Self -Study

44
Unit Code KMMC104
Unit Title Applied Music Technlogies
Credit 30
Unit Leader Deepak Sugathan

Aims

This unit aims to develop a understanding of, and technical facility with, the relationship
between the composer-performer and the electronic technology available to them for
generating, developing, altering and enhancing their music. The course challenges the
student to engage with the ways in which electronic technology assists the composition,
production and performance of their music. Alongside the imparting of practical technological
skills, the course aims to impart an understanding of issues of the development, place and
function of technology as it affects music composition & performance in contemporary
society.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

1. the relationships of application between technology and music (B7)
2. theoretical principles relating to music technology (A6)
3. musical elements and concepts as they relate to a music technology context (B7)
4. the manipulation of sound and its creative application (A6)

Skills

By the end of this unit, the successful student will be able to:
5. demonstrate technical skills in sequencing, sound synthesis, sound processing
and
sound editing to enhance composition and performance; (C5, D6)
6. edit and carry out basic mixing of sound using appropriate digital sound editing
software (e.g. balance, panning, equalization, reverberation delay and compression);
(C5, D6)
7. handle aesthetics of the interface between music and other art forms with flair and
imagination; (C5)
8. handle aesthetics of the interface between acoustic and electronic sound in
performance, with flair and imagination. (C5)

Syllabus

Workshop sessions in Music Technology.

Music Technology lectures in (indicative content): Acoustics; Digital Audio Theory;
Introduction to Synthesis (additive, subtractive, FM, granular, wave-table);
Microphones
and microphone placement; Principles of Sampling; Sequencing (including
'arrangement'
techniques); Computerised Notation; Musical Instrument Digital Interface (MIDI);
Signal
Routing; Delay; Computer-Assisted (Algorithmic) Composition; Compression;
Equalisation; Mixing; Production Techniques; Digital Sound Editing; Mastering;
Language and Aesthetics in Electronic Music; History of Electronic Music and its
Production.

45
Learning, Teaching and Assessment Strategies

Weekly lectures (1.5hr/week) and practical workshops (2hr/week) where the syllabus topics
will be explained and then put into practice. Workshops in technology will be taken where
possible in a studio environment. Independent study for students to complete related
individual project work. Students will be expected to spend eight notional hours per week in
independent study.

Assessment Scheme

Formative
Students will receive continuous Formative Feedback in spoken and written form on their
progress for the Summative assessment throughout the year.

Summative

1. An experimental electronic music composition lasting a minimum of 3-4 minutes

(one composition per student) and a 10 minute viva on the project process and live
skills test (Composition (40%), Viva (10%), Skills Test (15%) (1 - 6)
2. A short, composed, staged experimental group music performance
/improvisation project of 3-4 minutes' duration, incorporating live electronic
transformation of sound and/or pre produced electronic 'backing track' with live
microphoned acoustic (non-electronic) instruments. One or more of the following
must be incorporated into the performance: costumes, staging, stage make-up,
lighting, poetry, theatre, dance. (25%) (1 - 8)
3. An informed 1500-word reflective report on the student's aims, approach,
method, technical issues, contribution, results and conclusions relating to their
involvement in the group performance /improvisation project after performance.
(10%) (1)

Students must attain an overall pass as well as a pass for assessments (A) and (B) in order
to pass the unit.

Assessment Weighting

-Individual Composition: 40% (A)

-Viva + Live Skills Test: 25% (A)
-Group Composition: 25% (B)
-Reflective Report: 10% (B)

Students must attain an overall pass as well as a cumulative pass in assignments A and B

Learning Materials

Computer workstations of the KMMC Learning Resources Centre; Digital Audio

Workstation
software (e.g. Logic Pro); MIDI keyboards with interfaces; monitoring facilities; reverberation
hard and software; microphone collections; live sound diffusion area; instruments and
performance ability of fellow students.
Links with local art galleries, museums, theatres and dance schools.

46
Core Text

Huber, David M. & Runstein, Robert E.: Modern Recording Techniques. (Focal Press,
2009).

Indicative Additional Texts

Nahmani, D.: Logic Pro 9 Professional Audio Production. (Peachpit Press, 2009).
White, Paul, Mead, David, Gladwell, Robbie: Studio Recording Basics (Basic Mixing
Techniques, Effects & Processors, Multi-tracking & Mixers). (Sanctuary Publishing, 2003).
Buick, Peter: Live Sound: PA for the Performing Musician (London: PC Publishing, 1996).
d'Escrivan, J. & Collins, N.: The Cambridge Companion to Electronic Music. (Cambridge
University Press, 2007).
Gibson, Bill: MIDI Production (London: Music Sales Ltd, 2003)

Journals
Sound Recording: An International Journal of Music Technology (Cambridge: Cambridge
University Press)
Sound on Sound Magazine (with its accompanying website at http://www.sound-onsound.
co.uk)

Notional Learning Hours: 300

Lecture (1hr/week) +
Workshop (2hr/week) =

Total: 84 contact hours + 216 individual study hours

47
DIPLOMA 2 UNIT NARRATIVES
Unit Code KMMC201
Unit Title Indian Music Traditions 2
Credit 30
Pre requisites KMMC101
Automatic Deferral No
Unit Leader Asawari Waikar

Aims

Building on KMMC 101:

The aims of this unit are to instil in the student a detailed knowledge of and skills associated
with the rich traditions of North Indian music making, their musical systems, instruments,
their origins and development. These are presented in an historical and geographical and
sociological context. Lecture sessions are delivered in parallel with
performance/improvisation seminars at which the principles that students have learned can
be put into associated practice.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

The history and culture and significant changes in North Indian music with the
changing socio-political structure of the country;
Indian musical treatises and their theory;
Comparative study between South Indian music (Carnatic) and North India music
(Hindustani);
Life sketches of the great Indian musicians & musicologists;

Skills

By the end of this unit, the successful student will be able to:
Communicate the above through writing and project work;
Perform to demonstrate music in practice from a selection of syllabus topics
presented.

Indicative Theory Syllabus

The syllabus below is indicative of the content of the course but may vary at the unit leaders
discretion as per the needs of the year group

1. History and evolution of the Indian classical music from the 8 th Century to the present
times with special reference to:
1.1 The Islamic rule in India;
1.2 The Khilji, Tuglak and Lodhi period;
1.3 The Mughal period;
1.4 The British period;
1.5 Music in Modern India;

2. The treatise written from the 8th century to the modern period.
2.1 Jaidevs Geet Govind;
2.2 Sarangdevs Sangeet Ratnakar;

48
 2.3 Sangeet Parijat
2.4 Chaturdandiprakashika
2.5 Hridaya Narayan Devs Musical Treatises
2.6 Pt. Venkatmakhi - Swarmelkalanidhi;
2.7 Mankautuhal;
2.8 Rag Tarangini;
2.9 Rag Vibodh;
2.10 Md. Raza - Naghmate Asifi;

3. A comparative study of the two major systems the Hindustani and the Carnatic
music system with special reference to:
3.1 Nomenclature and application of the 12 notes;
3.2 The Mel and That system;
3.3 The difference in composition patterns;
3.4 Comparative study of the Taal system;

4. Life sketches of some eminent musicians (gurus), both performers

and musicologists:
Swami Haridas ; Amir Khusro; Tansen; Adarang Sadarang, Haddo and Hasso
Khan, Faiyaz Khan, Bade Ghulam Ali Khan, Amir Khan, Abdul Karim Khan,
Pt. V. N. Bhatkhande, V. D. Paluskar, D. V. Paluskar, Omkarnath Thakur.
Kumar Gandharva

5. A detailed survey of the various parallel forms and regional music styles practiced in
India: like the Sufi, Ghazal, Qawwali, Rabindra Sangeet, Abhang, Sabad Kirtan etc

6. The theoretical study of the following Rags:

1) Marva
2) Darbari
3) Madhuvanti
4) Jog
5) Rageshri
6) Jaijai vanthi
7) Puryakalyan
8) Abhogi
9) Bairagi Bhairav
10) Bihag
11) Malkauns - Bada Khayal [Vilambit or Madhalay]

Vocal Syllabus Only for Voice Students

2. A detailed study of some or all of the following rags:

1) Marva
2) Darbari
3) Madhuvanti
4) Jog
5) Rageshri
6) Jaijai vanthi
7) Puryakalyan
8) Abhogi
9) Bairagi Bhairav
10) Bihag
11) Malkauns - Bada Khayal [Vilambit or Madhalay]
Chota khayal of each Rag in the prescribed Taal with simple improvisation alap and
tans, Two bada khayal and one semi-classical piece from the any of above Rags.

49
Percussion Syllabus Only for Percussion Students:

Specific details of the Tabla syllabus will be provided in the initial classes.

Harmonium Syllabus For all non voice and non percussion students.

1) Marva
2) Darbari
3) Madhuvanti
4) Jog
5) Rageshri
6) Jaijai vanthi
7) Puryakalyan
8) Abhogi
9) Bairagi Bhairav
10) Bihag
11) Malkauns - Bada Khayal [Vilambit or Madhalay]
The student should be able to play the composition in the prescribed Taal with small
improvisations and small Tans.

Learning, Teaching and Assessment Strategies

Weekly lectures (1 hour) in the history and theory of Indian Musical Traditions and
performance workshops, master classes (1.5 hour), or individual lessons (0.5 hour as
alternate to group lesson at unit leaders discretion) which may include sessions from visiting
gurus; regular student practice time in spaces provided for students.

Assessment Scheme

Students must meet the subject's 80% attendance requirement to be eligible for
assessment.

Formative Assessment

Students will receive verbal and written feedback throughout the duration of the course both
in practical and written assignments in progress.

Summative Assessment

1. A written test paper [2 hours], during which the student will be asked to answer
short and detailed, previously unseen questions on diverse aspects of the course.
(20%) Viva voce [10 minutes, unseen] (10%)
2. A coursework project [of about 2000 words] from a choice of project descriptions
presented by the unit leader. Coursework project must be word processed in English
(20%).
3. A 15-minute public recital during which the student will demonstrate their knowledge
of composition recital in Hindustani Classical Music style, Percussion, or Keyboard
performers. (50%)

50
Students must have an overall pass grade, as well passing each of the three areas of
assessment (1, 2, + 3 above) in order to successfully complete the learning outcomes of the
unit.

Learning Materials

Tutor-provided learning resources. KM Music Conservatory Learning Resource Centre

Core Texts

Basant: Sangeet Visharad (Sangeet Karyalaya Haathras, 2007)

Jauhari, Shruti: Elements of Hindustani Classical Music. (D. K. Printworld, 2010).

Indicative Additional Texts

Bhatkhande, V. N: Hindustani Sangeet Paddhati Kramik Pustak Malika, Vols. I to VI

(Sangeet Karyalaya Haathras, 2005).
Jha, Ramashray: Abhinav Geetanjali, Vol. I to V (Sangeet Sadan Prakashan, 2009).
Basant: Sangeet Visharad (Sangeet Karyalaya Haathras 2007).
Nelson, David: Solkattu Manual An introduction to Rythmic language of South Indian Music
(Wesleyan University, 2008).
Dhandapani & Pattamal: Raag Pravaham (The Karnatic Music Book Centre 1991).
Raja, Deepak The Hindustani Music - A tradition in transition (D.K. Printworld, n.d.).
Arnold, Alison: South Asia The Indian Sub-continent (n.p., n.d.).
n.a.: Gayan, Vadan, aur Nritya Pustak (Sangeet Karyalaya, Haathras 2010).
Viswanathan / Harp, Mathew: Music in South India (New York Oxford University Press
2004).
Annapoorna, L.: New Dimensions of India Music Dance & Drama (Sandeep Prakashan
1998).
Tagore, S. M.: Universal History of Music (Chowkhamba Publications, 1965).
Prajnanananda, Swami: The Historical Study of Indian Music (Munshiram Manoharlal
Publishers, 2002).
Mukherji, Kumar Prasad: The Lost World of Hindustani Music (Penguin Books, 2006).
Nadkarni, Mohan: The Great Masters (Rupa & co., 2004).
Howard, W.: Samavedic Chant. (New Haven, 1977).
Bor, / Delvoye / Harvey, / Nijenhuis, Hindustani Music Thirteenth to Twentieth Century
(Codarts, Manohar, 2010).
Moutal, Patrick: Hindustani Raga Index (Munshiram Manoharlal Publication, n.d.).
Saxena, Sudhir Kumar: The Art of Tabla Rhythm (n.p., n.d.).
Bor, Joep: The Raga Guide (Wyastone Estate Limited, 2002).
Reginald & Massey: The Music of India (Abhinav Publications, 1996).
Pingle, B. A.: History of Indian Music (A venture of low price publication 2007).
Clayton, M.: Time in Indian Music (Oxford University Press, 2008).
Bhatkhande, V.N.: Music Systems in India (Eastern Book Linkers, 1984).
Courtney, David: Learning the Tabla (Mel Bay Publication, n.d.).
Rosenthal, Ethel: The story of Indian Music and its Instruments (Low Price Publications,
2010).
Dhond, M.V.: The Evolution of Khayal Sangeet Natak Academy (n.p., n.d.).
n.a. Encyclopaedia of Indian Music with special reference to Raags (Sri Satguru
Publications, 1988).
Menon, R.R: Penguin Dictionary of Indian Classical Music (Penguin Books, n.d.).
Bakshi, Harish: 101 Raags for 21st Century and Beyond (Trafford, n.d.).
Deva, B.C: Indian Music (New Age Publications, 1996).
McIntosh, Solveig: Hidden Faces of Ancient Indian Song (n.p., n.d.).
Nadkarni, Mohan: The Great Masters (Rupa & Co., 2004).

51
Jairazbhoy, Nazir Ali The Rags of North Indian Music (South Asia Book, Faber, 1995).
Sharma, Manorama: Traditions of Hindustani Music (n.p., n.d.).
Bake, A. A.: New Oxford History of Music (Chapter IV, i). (Norton, 1957).
Nijenhuis, Emmie te: Indian Music, History and Structure (Leiden /Brill, 1974).
Nijenhuis, Emmie te: Sangitasiromani: Medieval Handbook of Indian Music (Brill, 1992).

Journal Articles

Gonda, J. (Ed.) Musicological Literature, A History of Indian Literature, VI fasc. 1

(Wiesbaden 1977).
Jairazbhoy, N. A. An Interpretation of the Twenty-two Srutis; in Perspectives on Asian music:
essays in honor of Dr Laurence E. R. Picken, Asian Music, VI 1 & 2 - (USA, 1975).
Kunhan Raja, C. Translation of the First Chapter of the Samgitaratnakara of Sarngadeva,
Adyar Library Series, 51 (Madras, 1945).
Natak, Sangeet (Ed.), Journal of Indian Music (New Delhi).
Powers, H., Indian Music & the English Language Ethnomusicology, IX (Jan 1965).
Widdess, D. R., The Kudumiyamalai Inscription: A 17th-Century Source of Indian Music in
Notation Musica Asiatica, II (London, 1979).

Notional Learning Hours: 300

Lecture 1 hrs/week+
Workshop 1.5 hrs/week =
Total: 70 contact hours + 230 individual study hours

52
Unit Code KMMC202
Unit Title Western Music Histories & Analysis 2
Credit 30
Pre-requisites KMMC102
Unit Leader Anupam Roy

Aims

Building chronologically from KMMC102, this unit aims (i) to instill in the student a practical
understanding of the history of Western music from early Romanticism to the Second
Viennese School and (ii) to develop a familiarity with advanced forms of music analysis.
Students are taught to relate the results of analyses to the historical and cultural traditions
from which studied pieces come, so as to inculcate detailed insights into the traditions
covered.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

1. the history and cultural traditions of Western music from early Romanticism to the
Second Viennese School; (A1)
2. methods for advanced forms of music analysis (including an introduction to the
practice of semiotic analysis and the principles of pitch class set analysis); (A2, B3)
3. the relationships between the results of analyses and the cultural contexts which
cause them. (A1, B3)

Skills

By the end of this unit, the successful student will be able to:
4. communicate intelligently in historical and cultural terms about Western music from
early Romanticism to the Second Viennese School; (D1)
5. analyse music using advanced analytical techniques to reveal 'deep' structures in
the
music; (C1, D4, D6)
6. relate the results of advanced analyses to the historical and cultural contexts which
cause them; (D7)

Syllabus

Indicative syllabus subjects:

History
Continues from KMMC102: the Romantic era; Wagner; the German Romantic efflorescence;
nationalism; church music; Romantic musical styles; form in Romantic music; 19th-century
musical Romanticism & its audience; 20th-century music & the past; the breakdown of
traditional tonality; the new tonalities; atonality & 12-note music.

Analysis
Continues from KMMC102: psychological and formal approaches to analysis; semiotic
analysis; comparative analysis; performance-practice, post-modern approaches to analysis;
what does musical analysis tell us?; starting an analysis; analysing serial music.

53
Learning, Teaching and Assessment Strategies

A weekly lecture (1.5hr) in music history and a weekly seminar (1.5hr) in harmony and
analysis at which students' analyses are examined and worked on.

Assessment Scheme

Formative

According to the published Assessment Schedule, in week15 students will receive written,
formative feedback on draft versions of summative work in progress (see below).

Summative

1. Research Project: A 3000-word coursework essay; OR 3000-word website; OR 20-minute

radio/podcast; OR 15-minute video documentary; OR annotated research portfolio from a
choice of questions and/or topics presented by the unit leader. If selected as an option, the
annotated research portfolio will comprise professionally-presented materials collected from
a wide range of types of source [including books, journal articles, radio broadcasts,
recordings, the internet, personal interviews etc.]. Stipulations for presentation format(s) will
be given in the assignment sheets early in the term. The chosen format must be approved
by the Unit Leader in advance for all formats other than the 3000-word essay. (Plan and
Annotated Bibliography 10%; Research Project 35%) (1, 6, 8)

2. A folder of four music analyses independently completed through the course, and
demonstrating the student's ability to analyse music using the range of analytical techniques
indicated in the syllabus. (45%) (2, 5, 7)

3. A 10-minute viva voce on one of a choice of topics presented to the student 24 hours
before the viva. The chosen topic must be different from that covered in assessment section
1. above. (10%) (3, 4)

(Bracketed numbers show learning outcomes assessed.)

Assessment Weighting

Research project (Plan and Annotated Bibliography 10%; Research Project 35%)
Music analysis (45%)
Viva voce (10%)

Students must pass the Research Project and the Music Analysis as well as obtaining an
overall pass in the unit.

Learning Materials

Core Text

Burkholder, J. P., Palisca, C., Grout, D.: A History of Western Music. (Norton & Co., 2009).

54
Indicative Additional Texts
Cook, N.: A Guide to Musical Analysis. (Oxford University Press, 1994).
Cadwallader, A & Gagn, D.: Analysis of Tonal Music, A Schenkerian Approach. (Oxford
University Press, 2010)
Morgan, Robert P.: Twentieth Century Music: A History of Musical Style in Modern Europe
&
America. (Norton & Co., 1991).
Nyman, Michael: Experimental Music: Cage & Beyond. (Cambridge University Press,
1999).
Cook, N.: Analysing Music Multimedia. (Clarendon Press, 1998).
Dunsby, J.: Schoenberg: Pierrot Lunaire. (Cambridge University Press, 1992).
Pople, A.: The Cambridge Companion to Berg. (Cambridge University Press, 1997).
Kolneder, W.: Anton Webern - An Introduction to his Works. (Greenwood Press, 1982).
McClary, S.: Conventional Wisdom the Content of Musical Form. (Berkeley and Los
Angeles: University of California Press, 2000).
Scott, D (ed).: Music, Culture and Society a Reader. (Oxford: Oxford University Press,
2000).
Strunk, O. & Treitler, L.: Source Readings in Music History. (Norton & Co., 1998).

Online Materials

History of Western Music by Grout & Palisca - Online Help Pages

http://www.wwnorton.com/college/music/grout7/home.htm
Lancaster University Music Analysis Web Links Portal
http://www.lancs.ac.uk/sma/links.htm
Middlesex University Music Extranet Site
http://www.mdxpa.net/music/undergraduate.htm
Naxos Music Library (requires subscription)
http://www.naxosmusiclibrary.com
...with Naxos Music Library Study Area (see link below, after logging in). Includes
sections on music history, music styles, musical forms, instrumentation, music from
other countries, popular music, listening questions and advice for further study.
http://www.naxosmusiclibrary.com/resources/studyarea/default.asp?cty=uk
Open University Openlearn Learning Space Music Units
http://openlearn.open.ac.uk/course/search.php?search=Music
Oxford Music Online (requires subscription)
http://www.oxfordmusiconline.com
Pankhurst, Tom: Schenker Guide
http://www.schenkerguide.com
Solomon, Larry: Solomon's Music Resources
http://solomonsmusic.net

Notional Learning Hours: 300

History lecture: 1.5hr/week+
Analysis seminar:1.5hr/week =

Total: 84 contact hours + 216 individual study hours

55
Unit Code KMMC203
Unit Title Pastiche & Musicianship 2
Credit 30
Pre-requisites KMMC103
Unit Leader James Bunch

Aims

This unit aims to develop a specialised aesthetic knowledge and technical expertise through
two principal foci: Romantic music (c.1810-1900) and early-20th century music, particularly
French (centred on the mature work of Claude Debussy c.1900-1915), and German (centred
on the free atonal works of Schnberg and others from the Second Viennese School c.1900-
1920). The unit aims to enable the student to build upon first year Diploma work on 'common
practice' harmony, with more style-specific harmony and pastiche composition work, and to
demonstrate that understanding practically in related musicianship skills.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will understand:

1. western Romantic and early 20th Century musical styles and aesthetics; (B2)
2. musical elements and concepts in the 19th and early 20th centuries and their
presentation using notation software; (A1, A6)
3. composition techniques in the late 18th century manner and in Impressionist and
expressionist styles. (A3, B4)

Skills

By the end of this unit, the successful student will be able to:
4. demonstrate competence in a range of musical skills including pastiche
composition
(C4)
5. inform musical practice through theoretical knowledge (C4)
6. learn effectively through pastiche and musicianship exercises (C5, D2)

Syllabus

Topic 1
the harmonic vocabulary of Western Romanticism and its relations with rhythm, phrase,
cadence, texture; its progression and functions
modulation as structural dissonance
later sonata form structures

Topic 2
Fin-de-sicle: French music and culture after the Franco-Prussian War 1871
Debussy's aesthetic and technical/stylistic innovations, particularly in non-functional
harmony and its colouristic use
unorthodox scale-patterns and interval sets, mosaic and cell-like structures
a fluid approach to rhythm
musical textures and colour

Topic 3
Free atonality in the music of the Second Viennese School 1908-1922 (i.e. between post-
tonality and pre-serialism

56
 expressionism and its new modes of perception and affect
loosening ties of tonal centres and total chromaticism
the equivalence of horizontal and vertical interval-sets
other unifying devices, e.g. motif, ostinato, canon

Musicianship Skills
Sight singing; instrumental sight reading; melodic improvisation; harmonisation of melodies,
extemporization; score reading; transposition; critical listening skills

Aural skills training

Melodic dictation; skeleton score work; aural analysis; harmonic and cadence recognition;
modulatory recognition. Further details may be found following this Unit Narrative.

Learning, Teaching and Assessment Strategies

Weekly pastiche workshops (1.5hr)

Musicianship seminar: (1 hr)
Weekly Keyboard Skills or Sight Singing classes (1hr)
Independent study: 8 hours per week.

Assessment Scheme

Examination Period 1
- Summative Pastiche composition / orchestration demonstration understanding of skills in
Western Romantic harmony and orchestration to be produced using appropriate music
notation software (15%) (1-6)
- Summative written, scored-based examination on identifying and discussing features of the
Western Romantic period (15%) (1,2,5)
- Summative: Musicianship skills test including sight-singing and keyboard skills (10%)
(1,2,6)
- Summative Aural skills test including aural identification of musical features and extended
aural examples (10%) (1,2,6)

Examination Period 2
- Summative Pastiche composition/orchestration demonstration understanding of skills in
early 20th-Century techniques to be produced using appropriate music notation software
(15%) (1-6)
- Summative written, scored-based examination on identifying and discussing features of the
early 20th Century (15%) (1,2,5)
- Summative: Musicianship skills test including sight-singing and keyboard skills (10%)
(1,2,6)
- Summative Aural skills test including aural identification of musical features and extended
aural examples (10%) (1,2,6)

(Bracketed numbers show learning outcomes assessed.)

Assessment Weighting

-Pastiche Composition 1 + 2 (15%, 15%) (A)

-Written Score-based Examination 1 + 2 (15%, 15%) (A)
-Musicianship Exam 1 + 2 (10%, 10%) (B)
-Aural Exam 1 + 2 (10%, 10%) (B)

57
In order to successfully complete this unit students must attain an overall pass, and a
cumulative in A and B.

Learning Materials
Staff developed course materials (e.g. class handouts), plus study scores of:
Mendelsohn: Songs without words
Debussy, C.: Prludes
Schoenberg, A.: Drei Klavieerstcke Op.11
Schoenberg, A.: Pierrot Lunaire Op.12

Core Texts

Kostka, Stefan & Payne, Dorothy: Tonal Harmony: With an Introduction to 20th-Century
Music
(McGraw Hill Higher Education, 2009)
Benjamin, Thomas E., Horvit, Michael & Robert S. Nelson: Music for Sight Singing.
(Cengage Learning, Inc., 5th Edition).
Music in recordings and scores, as directed.

Indicative Additional Texts

Bray, D.: Keyboard Musicianship Book 2. (Trinity College London, 1997).

Cleland, K. D. & Dobrea-Grindahl, M.: Developing Musicianship Through Aural Skills.
(Routledge, 2010).
Griffiths, P.: Modern Music and After. (London: Thames and Hudson, 2000).
Piper-Clendenning, J.: The Musician's Guide to Aural Skills: Ear Training & Contextual
Listening. (Norton, 2011).
Sturman, P.: Advanced Harmony, Melody and Composition. (Longman, 1998).
AGC: Aural Tests Parts II to IV (Grades VI to Diploma). (ABRSM, 2010).
Morgan, R. P.: Twentieth-Century Music: A History of Musical Style in Modern Europe and
America. (New York: Norton, 1991).
Morgan, R. P.(ed.).: Anthology of Twentieth-Century Music. (New York: Norton,1992).
Sadie, S. (ed).: The New Grove Dictionary of Music and Musicians. (London: MacMillan,
2001)
- selected articles on specific composers and their works, as directed.
Schoenberg, A.: Fundamentals of Musical Composition. (London: Faber, 1967).
Simms, B.: Music of the Twentieth Century: Style and Structure. (New York: Schirmer,
1986)
Wright, D.: From Extemporisation to Improvisation. (London: Trinity College, 1997).

Online Aural training websites listed at:

http://www.mdxpa.net/music/links.htm

Notional Learning Hours: 300

Musicianship seminar: 1 hr/week +
Pastiche: 1.5 hr/week +
Keyboard Skills/Sight Singing: 1 hr/week =

Total: 98 contact hours + 202 individual study hours

58
Unit Code KMMC204
Unit Title Composition 1
Credit 30
Pre-requisites KMMC103
Unit Leader James Bunch

Aims

As the first of a two-part course which continues in the 3rd year of the BA Music degree at
Middlesex University, this unit aims to enable the student to begin to specialise in
composition by instilling in them a working knowledge of: (i) musical instrumentation and the
idiosyncrasies of different families of acoustic instruments (range, appropriate writing,
special effects, clefs etc.); (ii) how to develop the musical elements of rhythm, melody,
harmony, texture, improvisation and form in a composition. A guided forum will be provided
to develop practically how students work with musical materials via detailed studies of
orchestration, study of the structure of notable pieces in the repertoire (how musical material
is developed and integrated) and how styles are formed through composition. At weekly
seminars students will be asked to present their work in progress to peers and constructively
to discuss their findings.

Learning Outcomes

Knowledge

On completion of this unit, the successful student will be able to:

1. apply knowledge of aspects of instrumentation and notation in composition
reflectively and critically, as understood from a range of western (and other) styles,
repertoires and aesthetics. (A3)
2. begin to formulate strategies from theoretical knowledge, for composing for
different
instrumental combinations; (B5)
3. generate and reflect on structural ideas in composition; (B4)
4. relate micro to macrostructure in their own composition through abstract thinking;
5. demonstrate and reflect on practical understanding of how western (and other)
musical styles and aesthetics are developed; (A3, B5)
6. continue to develop their craft as individual composers, informing practice through
theoretical knowledge. (A3)

Skills

This unit will call for the successful student to demonstrate technical the skills necessary to:
7. generate ideas and develop different musical elements competently and
elaborately, with flair, imagination and originality (rhythm, timbre, melody, harmony,
improvisation, aleatory techniques, types of texture and their generation); (C2)
8. develop a sensitivity in the structuring of music into developmental and non-
developmental forms; (C2, D5)
9. rehearse and practice effectively, allowing live practice to inform composition; (D5)
10. reflect constructively on their work (evaluate information). (D3)

Syllabus

Indicative syllabus that will be modelled alongside developing ideas from the year group.
Introduction to the craft of Composition (including the need for clear and appropriate notation
and its relationship to performance, preparation & presentation of scores and parts); Writing

59
for Woodwind; Writing for Brass; Writing for Percussion; Writing for Strings; Writing for Harp,
Guitar & Voice; Developing traditional Hindustani music techniques to contemporary
composition; Developing Rhythm; New Perspectives on Melody; Affective Harmony;
Improvisation & Aleatory Music; Texture; New Forms (e.g. Stravinsky's Agon). Visiting
lecturers gurus and master classes.

Learning, Teaching and Assessment Strategies

Regular individual or small group tutorials at which students own composition work (written
outside of taught sessions) will be gone over in relation to knowledge and skills imparted
during successive weeks' lecture sessions.
Weekly topical discussion / workshop / studio class session [2hr]
Weekly group score study session [1.5hr]
Regular insteraction with KMMCs new music ensemble Hundredfoot Road.
Online materials and interaction
Composition performance workshops will be organized per semester at which students may
record their pieces
Reading sessions worked out with Middlesex University as availability permits
Performances of students works with institution and visiting ensembles as available

Assessment Scheme

Formative

The students will also be expected to present their work in an articulate and clear
demonstration to the whole class once during the term.

Students will receive formative feedback continuously through the semester in the form verbal
feedback in their individual sessions with their tutor, written feedback on works-in-progress
and commentaries and peer-feedback during master-class and seminar sessions.

A third source of formative feedback will be provided in workshopping, preparation, rehearsal,

and performance of student works throughout the year.

Summative

Students will be asked to produce a folio of five substantial compositions, each piece to last a
minimum of four minutes. Two completed compositions and commentaries will be
submitted completely during the first examination period during semester 1, the remaining
three will be submitted during the second examination period in semester 2. The word
substantial here refers to the pieces length, instrumentation and the compositional detail that
has gone into their preparation. Required instrumentation is as follows:

1. an extended piece for monophonic instrument,

2. a duo or trio,
3. a quartet or quintet (in one or more movements)
4. chamber ensemble of 9-32 players (may include piece for choir)
5. one piece with instrumentation at the students discretion.

It is possible to substitute electronic elements into any of the above portfolio at the
discretion and following discussion with the unit leader.

60
Each folio item will consist of:

1. A bound copy of the score printed, double-sided, using appropriate notation software
(e.g. Sibelius) and accompanied by instrument list (including transpositions), glossary of
any special performance or notations used; (1-8)

2. An approximately 500-word programme note describing to the audience the

composer's vision, method, assessment of the results, in composing the piece and having
it performed. (10)

3. live and/or MIDI recordings of all submitted pieces on one audio CD. At least two of
the pieces in the folio should have been recorded on acoustic instruments (i.e. not
exclusively MIDI-generated), to demonstrate that the student has overseen rehearsal
and practice their composition effectively with acoustic musicians. Recordings of all five
pieces submitted must be present, complete and representative of the notated
compositions. (9)
(Bracketed numbers show learning outcomes assessed.)

Assessment Weighting

Two scores with glossary (as appropriate) and recordings submitted during
Examination Period 1 (40%: assessed as 20%+205, according to the above learning
outcomes) (1 - 9)
Three scores with glossary (as appropriate) and recordings submitted during
Examination Period 2 (60%: assessed as a 20%+20%+20%, according to the above
learning outcomes) (1 - 9)

Learning Materials

Staff-developed course materials

Library scores and recordings
Conservatory instrumental ensembles and individual performers (staff, visitors and students)
Learning Resources (including computer workstations with MIDI keyboards and interfaces,
Audio Logic, Sibelius and basic synthesis algorithms
Regular Conservatory concerts and master classes; Concerts of live Music in Chennai
(fieldwork to which students may have access)
Departmental research events organized by the Music Research Group which composition
students are encouraged to attend.

Core Texts

Blatter, Alfred: Instrumentation & Orchestration. (Longman /Wadsworth, 1997)

Cope, David: Techniques of the Contemporary Composer. (Wadsworth, 1997)
Persichetti, Vincent: Twentieth-Century Harmony. (Norton & Co., 1988)

Indicative Additional Texts

Ray, Don: Orchestration Handbook. (International Music Publications, 2000)

Read, Gardner: Music Notation. (Gollancz /Taplinger Publishing Company, 1980)
Smith-Brindle, Reginald: Serial Composition. (OUP, 1989)
Adler, Samuel: The Study of Orchestration. (Norton, 2002) (second edition also comes with a
5-CD set of audio examples from the book ref. ISBN 0393993906)
Read, Gardner: Modern Rhythmic Notation. (Gollancz /Taplinger Publishing Company, 1978)
Del Mar, Norman: Anatomy of the Orchestra. (London: Faber, 1983

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 Smith-Brindle, Reginald: Musical Composition. (Oxford: OUP, 1966)

Journals
Perspectives of New Music
Tempo (Journal of New Music)
Specialist bibliographies may also be delivered per weekly lecture, relating to topics discussed.
These will normally also available online.

Notional Learning Hours: 300

Lecture: 1 hr/week +
Workshop: 1 hr/week =

Total: 56 contact hours + 244 individual study hours

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Unit Code KMMC205
Unit Title Performance 1
Credit 30
Pre-requisites KMMC103
Unit Leader Eric Frster

Aims
As the first of a two-part course which continues in the 3rd year of the BA Music degree at
Middlesex University, in this unit, the student is required to specialise in the study of their
chosen specialist instrument or voice, with the aim of achieving a high standard of
interpretation, technical security and confidence in their ability to engage with an audience in
performance. The unit is designed to enable the student to generate and perform
interpretative ideas through the performance study of a wide range of musical styles.

Learning Outcomes

Knowledge
On completion of this unit the successful student will have acquired knowledge and
understanding of:
1. a range of Western musical styles and repertoire in performance; (A4)
2. manipulation of musical elements and concepts; (B5, B6)
3. technical requirement of their instrument or voice; (B5)
4. the implications for performance of an appropriate range of styles and aesthetics
(interpretation). (B6)

Skills
This unit will call for the successful student to:
5. demonstrate a good standard of technical security, including control of tempo,
balance and rhythmic subtlety; (D1, D3)
6. to undertake effective and well-informed performance preparation; (D2, D5)
7. to make and adapt to appropriate judgements in building an interpretation. (C3)

Syllabus
Solo and ensemble performance (e.g. vocalist with chamber instrumental ensemble)
Repertoire for a variety of purposes including technical progress (appropriate repertoire will
be negotiated with tutor)
The further development of performance insight and skills
Aspects of musical communication, including development of a stage presence
Self-evaluation in the preparation of the practice seminar journal.

Learning, Teaching and Assessment Strategies

Performance Master-classes: 2 hours per week. These constitute a forum for individual
performances and a focus for discussion of topics arising from these performances. The
master-classes provide opportunities for students to formulate appropriate responses to
feedback from tutor and peers. In the first four weeks, students make decisions for chosen
technical and musical repertoire, and formulate a plan for the preparation of a recital.
Performance-Practice & Stage Craft: 1 hour per week. These weekly workshops focus on
elements relating to performance such as body-movements, foreign languages, score
preparations, professional skills for performers.
Individual tuition: Specialist instrumental teachers advise and assist students to prepare
seminar performances. These one-to-one sessions enable students to develop a sense of
responsibility in planning their personal practice and in evaluating its effectiveness and its
outcomes.

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Assessment Scheme

Formative:
Continuous formative feedback will be given through the performance seminar series.
Written feedback will be provided at the mid-point of each semester from the Individual
Instructors.
Students will receive written, formative feedback on a mock version of the summative recital
(see below).

Summative:
One 30-minute recital of fairly substantial, technical, and contrasting pieces (80%) (1, 2, 3,
4, 5, 7)
A clearly-presented, self-evaluative journal in appropriate academic register, in the form of
a practice diary covering the academic year, to be submitted at two points, during the first
semester and second semester examination points. The diary may be presented in written
prose, as a web site or magazine article, or a minimum 10-minute video (e.g. 'Quicktime') or
podcast (e.g. mp3) diary (10% + 10%) (4, 6, 7)
(Bracketed numbers show learning outcomes assessed.)

Assessment Weighting
Semester 1 Practice Diary, submitted during examination point 1 (10%)
Semester 2 Practice Diary, submitted during examination point 2 (10%)
Public Recital of 30-minutes during examination point 2(80%)
In order to successfully pass the unit, students must attain an overall pass grade and a pass
in the Recital and Practice Diary components of the assessment.

Learning Materials
Core Texts
Lawson, C. and Stowell R: The Historical Performance of Music - An Introduction.
(Cambridge
University Press, 1999).
Parncutt, R. and McPherson, G.: The Science and Psychology of Music Performance.
(Oxford, Oxford University Press, 2002)
Philip, Robert: Performing Music in the Age of Recording. Yale University Press, 2004.

Indicative Additional Texts

Green, B and Galloway, W; The Inner Game of Music. London, Macmillan, 1987.
Godlovich, S.: Musical Perfomance - A Philosophical Study. (London, Routledge, 1998)
Dunsby, J.: Performing Music: Shared Concerns. Clarencon Press, 1996.
Taruskin, R.: Text & Act: Essays on Music & Performance. Oxford University Press, 1996.
Various: Yehudi Menuhin Music Guides. (Kahn & Averill, 1998). These books exist one per
the following musical instruments: bassoon, cello, clarinet, flute, horn, oboe, organ.
percussion, saxophone, violin & viola and voice.

Notional Learning Hours: 300

1st--study instrument lesson: 1 hr/week +
Performance Master-class : 2hr/week =
Performance Practice / Stage Craft: 1 hr/week
Total: 112 contact hours + 188 individual study hours

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