Bath Spa University - Student Handbook Master of Arts in Songwriting School of Music and Performing Arts
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Bath Spa University
School of Music and Performing Arts
Department of Music
Master of Arts in Songwriting
Student Handbook
2008-2009Introduction
Welcome to the MA in Songwriting. The aim of the course is to help
you bring your songwriting to publishable quality and to enable you
to develop a range of creative, critical, practical, communicative,
industrial and research-based skills.
During the course you will be invited to write songs, play those songs
to peer, tutorial and industry specialist audiences, comment critically
upon your own and other’s material, examine the musicological roots
of your craft, consider the potential value of your songs in the
marketplace, re-write, collaborate and, finally, plan and record your
own portfolio of songs.
First of all, please familiarise yourself with the contents of this
handbook. It contains information, advice and guidance crucial to
your success as a student, so please read it carefully. This handbook
explains the structure of the course and the methods of assessment
used. At the start of each module you will be given a further ‘module
guide’ that will describe the criteria relating to that module in more
detail.
2A Brief Overview of the Course and the Department
At Bath Spa University, the School of Music and Performing Arts
oversees a busy programme of performance and composition based
student music making. The Michael Tippett Centre hosts both in-
house and international concerts of the highest quality, and the music
department’s writing and recording facilities are among the finest in
the country.
Songwriting has been a core component of the Fd and BA (Hons)
Commercial Music courses since 2003 and the University has hosted
the annual UK Songwriting Festival since 2004. Students regularly
sign up to play at ‘Songwriters in the Round’, an informal evening of
original song performance that takes place on site five times a year.
The MA in Songwriting encourages students to write songs
throughout the course. Through a combination of investigation,
collaboration, reflection and action it seeks to provide a wide ranging
critical and practical understanding of the nature of Songwriting.
Graduates will be skilled practitioners who will, in the opinion of
assessors, possess the ability to write publishable songs. They may
also be successful practitioners who see the course as an opportunity
to re-invigorate or extend their creative practice.
As the only course of its type available, the MA Songwriting offers a
unique programme of study. No other Higher Education course puts
the song at the centre of its focus. A specialist team of experienced
teachers and songwriters are on hand to guide you through the
academic process and you will find that informal contact between
tutors and students is the norm.
3Admissions Requirements
To be selected for interview, applicants must forward a completed
application form and an entirely self-written 4-song CD (using lyrics
in the English language) with relevant accompanying lyric sheets.
Applicants who do not have a first degree (or the academic equivalent
– see below) must also forward a completed MA Songwriting APEL
(Accreditation of Prior Experiential Learning) form.
Application materials should be sent to;
Liz Rack, MA Songwriting Admissions, Bath Spa University, Newton
Park, Newton St.Loe, BA2 9BN
All applications are reviewed by at least two members of the course
team. Successful applicants will normally, but not invariably, have a
first degree (in any academic subject). Applicants who do not hold a
first degree will be considered if the material is thought by the panel
to show considerable promise.
Candidates who can demonstrate their ability to take the course may
be admitted through Accredited Prior Learning (APL), for example
where previous formal learning other than at degree level may be
considered acceptable, or through Accredited Prior Experiential
Learning (APEL), for example where candidates have extensive
professional experience. Such cases will be considered by the Course
Director with advice from the Graduate School.
International qualifications equivalent to UK undergraduate honours
degrees are acceptable. International candidates from non-English
speaking nations should have an English language proficiency of
IELTS 6.5 or equivalent, although exemption from this will be granted
to international candidates who have been awarded a degree or
equivalent taught and assessed in the English language within the
previous three years.
Those whose applications meet the above criteria will be invited to an
interview. When the interview process has been completed,
successful applicants will be notified in writing. All successful
applicants will, in the judgement of the interview panel, have shown
either clear potential to be published songwriters or sufficient
commitment to re-invigorate/extend their current practice.
A further definition of ‘publishable’ quality is on page 14; essentially it
refers to the ability to write songs that possess individual character,
acknowledge the accepted conventions of the genre, and are
performed with appropriate instrumental and vocal accompaniment.
4Course Duration
The course is available on either a full-time (typically one year) or
part-time (typically two year) basis. The academic year for MA
Songwriting is 12 months long, comprising three trimesters:
1. October – January, 2. February – May, 3. June – September.
Extensions beyond the term of the course and periods of intercalation
may be granted by the Examination Board on the basis of evidence of
illness or other mitigating circumstances.
Module map (full-time route)
Semester 1 Semester 2 Semester 3
October-January February-May June-September
SW4001 (15 credits) SW4004 (15 credits) SW4008 (60 credits)
Solo Songwriting Solo Songwriting 2 Recording Portfolio
SW4002 (30 credits) SW4005 (30 credits)
Songwriting in Recording Plan and
Context Evaluation
SW4003 (15 credits) SW4006 (15 credits)
Industrial Context Collaboration
Module map (part-time route)
Semester 1 Semester 2 Semester 3
October-January February-May June-September
SW4001 (15 credits) SW4004 (15 credits)
Solo Songwriting Solo Songwriting 2
SW4003 (15 credits) SW4006 (15 credits)
Industrial Context Collaboration
Semester 4 Semester 5 Semester 6
October-January February-May June-September
SW4002 (30 credits) SW4005 (30 credits) SW4008 (60 credits)
Songwriting in Recording Plan and Recording Portfolio
Context Evaluation
5PGCert, PGDip and Master’s Awards
Successful completion of a PGCert requires the student to study for at
least one trimester, a PGDip for at least two trimesters and a Masters
for at least one academic year.
A PGCert is awarded upon accumulation of 60 credits, a PGDip upon
accumulation of 120 credits and a Master’s Award upon accumulation
of 180 credits.
Students may not normally study for more than 60 credits per
trimester on full-time basis or 30 credits per trimester on a part-time
basis.
15 credit modules are considered ‘half modules’, 30 credit modules
are considered ‘standard modules’ and 60 credit modules ‘double
modules’.
As a rough guide, a ‘half module’ such as SW4001 will involve
approximately 135 hours of self study, a ‘standard module’ such as
SW 4002 will involve approximately 270 hours of self study and a
‘double module’ such as SW 4007 will involve approximately 550
hours of self-study (in MA Songwriting, self-study is defined as
songwriting, song recording and time spent working towards the
completion of the various assessment tasks).
Participants have a maximum of six years from the date of
registration to complete an MA. The number of credits undertaken by
each student each trimester is down to individual choice. Should
participant demands at work/home become too great, or the
participant simply require a necessary break from continuous study, it
is also possible to elect to follow ‘no modules’ in a particular
trimester. Such decisions should be made through negotiation and
agreement with the Course Director.
To ensure academic equivalence (to other MA courses), all of the
modules studied at PGCert, PGDip and Masters level are designed to
meet level M of the Quality Assurance Agency (QAA) National
Qualifications Framework.
Accumulated coursework credit from MA Songwriting is potentially
transferable throughout the country to other HE institutions under a
scheme called Accreditation of Prior Learning (APL).
6Programme Specification
Awarding Institution: Bath Spa University
Teaching Institution: Bath Spa University
Programme Accredited By: Bath Spa University
Final Award: MA
Programme title: Songwriting
Date of Production/Revision: April 2007, September 2008.
Main and Subsidiary Aims
• To enable students to write and record songs to a
publishable level
• To develop students’ critical facility, both written and oral,
in evaluating both their own songs and the songs of
others
• To develop, through peer, tutorial and industry specialist
critique, students’ ability to perform/present their songs
• To inform students of cultural, historical and musicological
developments in songwriting circa 1920-the present day
• To enable students to research and present the musical,
lyrical and structural ‘ancestry’ of their compositions
• To enhance students’ understanding of the market value
of their own work
• To acquaint students, at an experiential level, with a
range of disciplines both currently and traditionally
practiced within the songwriting industry
• To provide opportunities for students to meet and discuss
current developments in songwriting with leading
songwriting industry figures
• To encourage students to develop re-writing skills
• To develop students’ self-evaluative skills
• To guide students in developing an understanding of
technical applications relevant to songwriting practice
• To develop skills in essay writing at ‘M’ level
• To develop students’ skills as creative collaborators
• To guide students in planning and recording a 40-60
minute CD of ‘publishable’ songwriting
In summary, the course aims to help students understand and accept
the practical conditions faced by songwriters, and make realistic
choices while holding on to the vision and passion that inform the
songwriting.
7The Curriculum
The following is intended to summarise curricular content by module -
separate individual handbooks give more detailed information on
each module.
SW4001: Solo Songwriting 1
During the initial stages of the module, a range of critical methods
and concepts are discussed within the group, and these are later used
to inform the content of an individually written ‘Critique Book’. In
taught sessions, students play, either ‘live’ or via pre-recorded CD,
new original songs to the group. The individual members of the group
are then invited to critique the song in written form before the tutor
adds a verbal critical perspective. In addition, using the Minerva VLE,
another tutor sends a ‘remote’ critique of each song by email to each
student.
SW4002: Songwriting in Context
Lectures on and discussion of known songs from the ‘Western Canon’
circa 1920–the present day. With reference to musicological
elements, you are required to evaluate four of your own songs within
the context of existing repertoire. The assessment object comprises a
presentation in which you place your original work in context,
illustrating and discussing resonances between your own work and
the work of others.
SW4003: Industrial Context
A series of hosted ‘Question and Answer’ and ‘One-to-One’ discussion
sessions featuring professional songwriters, music publishers and
other UK songwriting industry figures are used to inform a student-
led research project examining ways in which your own creative work
might develop market value within an industrial context.
SW4004: Solo Songwriting 2
You continue to write and perform new songs, but are this time
invited to respond to the critique of songs you wrote during Solo
Songwriting 1 as provided (anonymously) by the rest of the group. In
a group setting, you discuss how your songs have developed as a
result of re-writing.
SW4005: Recording Plan and Evaluation
In preparation for SW4008 ‘Recording Portfolio’, you are asked to
prepare a ‘Recording Plan’ in the form of a document that sets the
chosen recording methodology within the context of a reflective
8discussion of the practical and creative considerations that inform the
individual decision making process. During this module, you work in
groups and individually with course tutors and technical
demonstrators to prepare an appropriate recording plan and
separately with tutors to develop the accompanying evaluative
account.
NB: Prior to SW4005 it is anticipated that students’ will develop and
refine recording skills during ‘self-study’. Students are encouraged to
seek the help and advice of tutors and technical demonstrators (see
staff profiles, staff support) throughout the programme as required.
SW4006: Collaboration
You are asked to co-write with a minimum of 5 collaborators and
evaluate, in written form, your collaborative learning experiences.
The assessment object is a CD with an accompanying evaluative
document on the process of collaboration.
SW4008: Recording Portfolio
Working independently, you record a portfolio of original songs, at
least 75% of which must have been written during the course. The
portfolio must be at least 40, but no longer than 60 minutes in
duration and the assessment object comprises the CD portfolio plus
printed lyrics.
9Learning Outcomes
The programme provides opportunities for you to develop and
demonstrate knowledge and understanding, qualities, skills and
attributes in the following areas;
A Knowledge and Understanding of:
1. Your own songs in a range of critical, analytical and collaborative
contexts
2. How, as a songwriter, your work relates to the marketplace
3. Songwriting genres and forms and an ability to experiment with
these and make choices between them
4. The self-evaluative processes involved in writing and recording an
album of songs
Practical Skills including the ability to:
1. Write, and play/perform songs at a publishable level
2. Evidence a comprehensive understanding of how to create
recordings that realise both the creative aspirations of the
songwriter and the critical expectations of the listening audience
3. Plan and implement the recording of a portfolio of original songs
4. Plan and undertake bibliography-based research
5. Retrieve, sift and select information from a variety of sources with
a view to applying that information in a range of critical and
evaluative contexts
Cognitive Skills including the ability to:
1. Comment critically and analytically on your own and other’s
songwriting in both oral and written contexts
2. Interpret, analyse and develop appropriate responses to peer and
tutorial criticism
3. Show an acute awareness of local technical points in your
songwriting by identifying and solving lyric and music-based problems
4. Make and discuss strategic choices with reference to your
professional, artistic and cultural aims as a songwriter.
5. Apply key methods and concepts of critical, musicological and
historical analysis
Transferable Skills including the ability to:
1. Show thoughtful awareness of the audiences for whom you write
songs
2. Participate constructively in groups and pairs
3. Prepare and deliver an ‘M’ level academic presentation
104. Exercise independent learning as evidenced by effective time
management and the meeting of deadlines
5. Structure and communicate ideas in a creative context and
appraise your own creative decision making skills and understanding
using self-evaluative observation and sound judgement
11How the Curriculum Supports the Learning Outcomes
Knowledge and Understanding of songwriting are supported by
SW4002 ‘Songwriting in Context’, during which lectures on
developments in songwriting circa 1920-the present day are
delivered. Group seminars in Solo Songwriting 1 and 2 (SW4001 and
SW4004) provide a forum within which to listen to, discuss and
evaluate one another’s work. You are expected to write songs
throughout the module - a practice essential to the continued
development of knowledge and understanding of the crafting process.
Directed study of textbooks and journal articles supplement the
opportunities for acquiring knowledge offered by the group
environment.
Intellectual Skills are exercised via the ‘problem-solving’ nature of
songwriting itself. Group learning activities such as those offered in
the Q and A sessions in SW4003 ‘Industrial Context’, are intended to
enable the development of intellectual skills through enquiry.
SW4005 ‘Recording Plan and Evaluation’ requires you to demonstrate
intellectual ability in planning a range of activities that link
knowledge, understanding and practical skills, and SW4006
‘Collaboration’ facilitates the effective synthesis of creative ideas.
Both SW4005 and SW4006 invite you to submit a reflective
(metacognitive) account that evidences your ability to learn through
reflection. Throughout the course, one-to-one tutorials are used to
develop individual intellectual skills within the context of your own
creative identity and course aims.
Practical Skills are developed in SW4001 and SW4004, which
require you to prepare appropriate performance strategies. SW 4005
offers an opportunity to develop the necessary organisational and
evaluative skills required to develop an appropriate and achievable
recording plan. You will be guided through the recording process,
thus enabling the acquisition of practical skills necessary for the
successful completion of SW4008: ‘Recording Portfolio’. The ability to
write publishable songs, a requisite professional-level practical skill, is
supported by each of the practice oriented modules.
Transferable Skills are developed in SW4001 and SW4004 in the
sense that successful performance and presentation requires the
songwriter to communicate ideas to the listener. Discussions held
during these modules, along with the Q and A sessions in SW4003,
presentation seminars in SW4002 and collaborative teamwork skills in
SW4006 each require the development and exposition of oral
communication skills, while written communication skills are
exemplified through essay writing in SW4003 and SW4005. The
ability to be self-reliant and work independently is evidenced in the
successful completion of SW 4008 ‘Recording Portfolio’.
12Assessment
Assessment Process
Minerva is the Bath Spa University’s Virtual Learning Environment.
Course tutors will post course information on Minerva and it is also
used to submit assignment materials and upload finished songs as
MP3s. For more detailed guidance, see ‘Electronic Resources’.
You will be assessed towards the end of each module, on a date given
to you at the start of that module. In MA Songwriting, assessment is
continuous and there are no written exams.
All course modules are marked on a pass/fail basis. Assessment
criteria are specific to each module and are listed in each modular
handbook. Each submission requirement will be described fully in the
relevant handbook and it is your responsibility to submit work in the
manner prescribed.
Assessment Grading for MA Songwriting is as follows:
Mark Grade Grade Descriptor Notes
70%+ A Excellent or Outstanding Pass with Distinction
50-69% B Satisfactory or Good Pass
40-49% F Marginal Fail Fail
0-39% F Poor Fail
Some important points to note:
It is necessary to ‘pass’ a module to be awarded the related credits.
Students do not have an automatic right to reassessment.
Only one attempt to redeem a failed assessment is permitted.
A failed module that is passed on referral is awarded a mark of 50%.
Plagiarism
Use of plagiarism is an extremely serious matter and assignments
can immediately be failed when plagiarism is evident.
Bibliography Referencing
You are required to use ‘Harvard’ referencing.
13Assessment Criteria
Creative work achieving a ‘Pass’ mark will be work that, in the
assessor’s judgement, has achieved ‘M’ level and is essentially of
publishable quality. The minimum mark in achieving a pass is 50%. A
‘Fail’ mark (less than 50%) will be given to creative work that, in the
judgement of the assessors, is far from publishable standard and has
not reached ‘M’ level.
All modules are compulsory but allow for complete creative freedom
in terms of song material and artist/analysis choices. Assessment
methods take account the different norms of different genre types -
the musical pre-requisites of the relevant genre will be considered.
There is no ‘national standard’ when it comes to songwriting.
Musically and lyrically, there can be a sense of ‘proportion’ about a
good song, but the nature of that proportion is directed by the nature
and intent of each individual song and songwriter. The ‘First Marker’
must become familiar with the chosen genre and aesthetic
conventions within which the student is working, since an
understanding of the students’ creative aspirations is essential to the
accurate assessment of songwriting.
There is no precise definition of what makes a song ‘good’. Assessors
will use their expertise to consider how well crafted and
communicative each song is. A piece of work that earns high marks
will, in the assessor’s opinion, possess a quality that captures the
songwriter’s intended expression in a way that is likely to
communicate or resonate particularly powerfully with a listening
audience. A good song might be one that possesses one or more
original elements.
Some good songwriting will observe all the established rules of a
genre, while other good songwriting will be experimental in a way
that challenges those rules. To a significant degree, songwriting
makes its own rules. Assessors must attempt to judge how rigorously
and conscientiously those rules have been conceived, and how
effectively and persuasively they have been carried out. Initially,
assessors of songwriting will look for evidence of ‘creative control’
and for evidence that the listener’s viewpoint has been carefully
considered.
A ‘Second Marker’ is appointed to give the view of somebody not
previously acquainted with the development of the assessment item.
The second marker assesses each item of work independently before
conferring with the first marker. Following agreement between both
markers, a grade is awarded.
14An External Examiner is responsible for ensuring that the programme
is assessed according to the approved regulations, and that the
award is comparable in standard to those of other institutions. The
External Examiner also reviews a representative sample (20%) of
submitted work.
Although the course seeks to enable you to develop your songwriting
to a ‘publishable’ standard, it must be recognised that not all the
work that exemplifies publishable quality will be successful in finding
a publisher. Some work will be of the highest quality in lyric and
music terms but not presently appealing to commercial publishers
and some will simply be unlucky in the marketplace. A ‘pass’ mark
(50%+) indicates that the course team believes that the work
deserves to be published.
In addition to the criteria listed in each modular handbook and the
criteria discussed above, examiners will take into account:
Presentation – All submissions must be carefully typed and all audio
CDs clearly labelled with appropriate information.
Engagement with the content of the particular module – Assessors
will look for ways in which you have incorporated ideas gathered
during taught sessions, seminars, and group discussions.
Understanding of the listening market – Songwriters need to keep in
mind the question ‘Who am I writing songs for’?
Awareness of the skills a songwriter needs – You should display
evidence of research into the works and approaches of other
songwriters, particularly those whose work falls within a genre similar
to their own. Good songwriters must be good listeners; it is hard to
imagine a good songwriter writing a convincing song if he or she has
not attempted to understand the conventions of song.
Originality - However, in many cases, it is just as important for a
song to use echoes and resonances of other songs as it is to be
original. Assessors will look for signs that you have thought about the
issue and made considered choices.
A student who has a strong vision of what he or she wants to write
should not be deterred or inhibited by anything on this list. It is very
important that students should feel confident enough both to consider
criticism seriously and to keep faith with their own intuitive vision.
15Teaching and Learning Opportunities and Methods
• Lectures with course tutors
• Q and A and one-to-one discussion sessions with industry
specialists
• Peer group discussions
• Peer group seminar presentations
• Tutorial meetings
• Collaborative assignments
• Supervised practical assignments
• Critical and reflective documentation
• Supervised research-based essay
• Autonomous and self-directed study
Teaching and Learning Resources
Staff
Andy West (Course Director)
Jez Ashurst (Lecturer)
Paul Statham (Lecturer)
Iain Archer (Lecturer)
Guest Industry Speakers
Music & Performing Arts Technical Support Staff
Teaching and Learning Support
Part of the Course Director’s role is to advise and support you
throughout your study. You can make an appointment to see your
tutor by email or telephone. The Course Director will be able to help
you with any questions you have relating to MA Songwriting.
Quality Assurance
Students are involved in the quality assurance process at all times,
and are represented on the ‘School of Music and Performing Arts
Board’. Representatives on these committees are chosen at the
beginning of the academic year. The committees meet three or four
times a year and it is vital that students feed ideas into management
and become part of how the school runs.
Subject-level quality assurance will be by means of the ‘Bath Spa
University Peer Observation Scheme’, Minerva VLE and associated
student feedback mechanisms, regular meetings between the Course
16Director and Head of Department and through meetings of the
‘Steering Group’ at which students and staff are represented.
At the end of each module there is a short student evaluation form
where you can make more detailed feedback comments on individual
modules - these are anonymous.
Songwriting Facilities
The Music Department has a large rehearsal room complex (17
practice rooms, each with piano and some with additional technical
facilities). These are available to MA Songwriting students.
Students have access to laptop-based recording equipment located in
the Twiverton building and loans can also be negotiated with Jon
Savage. Building opening times are 9am – 9pm weekdays and 11am
– 7pm weekends. Facilities are closed during holidays. Music
Technicians are on duty at all times to offer guidance and can be
found in the Music-related areas on site.
FdCM and BA Music students are often keen to play ‘session’ roles,
and such collaborations are generally encouraged.
17Reading List
These books and journals are indicative of the range of reading you
might find useful to your studies. It is not a prescriptive list - you do
not have to refer to or read all (or even most) of the titles listed. You
are, however, encouraged to take full advantage of these texts in the
course of MA Songwriting research.
Journal Subscriptions:
Popular Music
Performing Songwriter
American Songwriter
Music Week
Journal of Research in Music Education
SW4001/4004/4005:
Adorno, T. (1997), ‘Aesthetic Theory’, Athlone Press.
Adorno, T. W. (2002), ‘Essays on Music’, Univ. of California Press.
Aeillo, R. (1994), ‘Musical Perceptions’, OUP.
American Songwriter Magazine (2006), ‘The World’s Best Songwriters on
Creating the Music that Moves Us’, Writer’s Digest Books.
American Songwriter Magazine (2006), ‘SONG’, Writer’s Digest Books.
Bennett, A. Shank, B and Toynbee, J. (2006), ‘The Popular Music Studies
Reader’, Routledge.
Blume, J. (1999), ‘Six Steps to Songwriting Success’. Billboard Books.
Blume, J. (2003), ‘Inside Songwriting: Getting to the Heart of Creativity’,
Billboard.
Braheny, J. (2006), ‘The Craft and Business of Songwriting (3rd ed.)
Cincinnati, OH: Writer’s Digest Books.
Butt, G. (2005), ‘After Criticism: New Responses to Art and Performance’,
Blackwell.
Cahn, W. (2005), ‘Creative Music Making’, Routledge.
Campbell, P. ed.), (1996), ‘Analysing Performance: A Critical Reader’,
Manchester Univ.Press.
Coryat, K. and Dobson, N. (2007), ‘The Frustrated Songwriter’s Handbook: a
radical guide to cutting loose, overcoming blocks and writing the best songs
of your life’, Backbeat Books.
Cottrell, S. (2005), ‘Critical Thinking Skills: Developing Effective Analysis
and Argument’, Palgrave McMillan.
Counsel, C. and Wolf, L. (2001), ‘Performance Analysis: An Introductory
Coursebook’, Routledge.
Davidson, J. (2004), ‘The Music Practitioner’, Ashgate.
Davis, S. (1988), ‘Successful Lyric Writing’. Cincinnati, OH: Writer’s Digest
Books.
Easthope, A. (2004), ‘A Critical and Cultural Theory Reader’, OUP.
Evans, A. (2003), ‘Secrets of Performing Confidence’, A&C Black.
18Frith, S. (1996), ‘Performing Rites’, OUP.
Frith, S. and Goodwin, A. (1990), ‘On Record: Rock, Pop and the Written
Word’, Routledge.
Frith, S. (2004), ‘Popular Music: Critical Concepts in Media and Cultural
Studies’, Routledge.
Frith, S. (2007), ‘Taking Popular Music Seriously: Selected Essays’,
Ashgate.
Fowler, R. ‘Linguistic Criticism’, OUP.
Gottlieb, J. (2007), ‘Music Library and Research Skills’, 101 Publications.
Hooper, G. (2006), ‘The Discourse of Musicology’, Ashgate.
Kramer. L. (2007), ‘Critical Musicology and the Responsibility of Response’,
Ashgate.
Malpas, S. (2006), ‘The Routledge Companion to Critical Theory’,
Routledge.
Middleton, R. (ed.), (2000), ‘Reading Pop: Approaches to Textual Analysis in
Popular Music’, OUP.
Middleton, R. (2006), ‘Voicing the Popular’, Routledge.
MacDonald, R.A.R., Hargreaves, D.J. and Miell, D. (2002), ‘Musical
Identities’, OUP.
Marcus, G. (2001), ‘In the Fascist Bathroom (2nd ed.), Harvard Univ. Press.
Middleton, R. (2000), ‘Reading Pop: Approaches to Textual Analysis in
Popular Music’. OUP.
Moore, A. (ed.), (2003), ‘Analysing Popular Music’, Cambridge Univ. Press.
Morley, P. (2003), ‘Words and Music’, Bloomsbury Books.
Morrow, R.A. (1994), ‘Critical Theory and Methodology’, Sage.
Negus, K. (1996), ‘Popular Music in Theory: an Introduction’, Polity Press.
Paddison, M. (1996), ‘Adorno, Modernism and Mass Culture: Essays on
Critical Theory and Music’, Kalin and Averill.
Phelps, R. (2005), ‘A Guide to Research in Music Education’, Scarecrow.
Rush, F. (2004), ‘The Cambridge Companion to Critical Theory’, CUP.
Scruton, R. (1997), ‘The Aesthetics of Music’, OUP.
Shuker, R. (2005), ‘Popular Music: The Key Concepts (2nd ed.)’, Routledge.
Sloboda, J. (1994), ‘Musical Perceptions’, OUP.
Steven, J. (2007), ‘The Memetics of Music’, Ashgate.
Stock, K. (2007), ‘Philosophers on Music: Experience, Meaning and Work’,
OUP.
Storr, A. (1992), ‘Music and the Mind’, Ballantine Books.
Tomlinson, G. (2007), ‘Music and Historical Critique’, Ashgate.
Toynbee, J. (2000), ‘Making Popular Music: Musicians, Creativity and
Institutions’, London: Arnold.
Walker, M. (1966), ‘An Anatomy of Musical Criticism’. Barrie and Rockcliffe.
Waterman, D.J. (2007), ‘Song: The World’s Best Songwriters on Creating
The Music That Moves Us’, F&W Publications.
Webb, J. (1998), ‘Tunesmith’, Hyperion Books.
Zollo, P. (2003), ‘Songwriters on Songwriting’, Da Capo Press.
SW4002:
Beatles, (1993), ‘Complete Scores’, Hal Leonard.
Bego, M. (2005), ‘Joni Mitchell’, Rowman and Littlefield Publishers.
19Chang, J. (2005), ‘Can’t Stop, Won’t Stop: A History of the Hip-Hop
Generation’, Picador.
Clark, C. (2006), ‘Pogue Mahone: The Story of the Pogues’, Omnibus Press.
Courier, K. (2005), ‘Randy Newman’s American Dreams’, ECW Press.
Davis, F. (2003), ‘The History of the Blues’, Perseus.
D’Ambrosio, A. (ed.), (2004), ‘Let Fury Have the Hour: The Pasionate
Politics of Joe Strummer’, Avalon.
Dylan, B. (2001), ‘The Definitive Dylan Songbook’, Music Sales Corp.
Dylan, B. (2004), ‘Chronicles, Vol.One’, Simon and Schuster.
Dyson, M.E. (2005), ‘Mercy, Mercy, Me: The Art, Loves and Demons of
Marvin Gaye’, ‘Basic Civitas Books.
Furia, P. (1990), ‘The Poets of Tin Pan Alley: A History of America’s Great
Lyricists’, OUP.
Ford, S. (2003), ‘Hip-Priest: The Story of Mark E.Smith and the Fall’, Quartet
Books.
Forman, M. and Neal, M.A. (2004), ‘The Hip-Hop Studies Reader’,
Routledge.
Gilbert, P. (2005) ‘Passion is a Fashion: The Real Story of the Clash’,
Persea Books.
Gershwin, G. and Gershwin, I. (1992), ‘The Gershwin Collection’, Hal
Leonard.
Granata, C. (2003), ‘Wouldn’t It Be Nice: Brian Wilson and the Making of the
Beach Boys’ Pet Sounds’, Chicago Review Press.
Gray, M. (2000), ‘Song and Dance Man: The Art of Bob Dylan’, London:
Continuum.
Gray, M. (2006), ‘The Bob Dylan Encyclopedia’, Continuum.
Gross, C.R. (2002), ‘Heavier than Heaven: A Biography of Kurt Cobain’,
Hyperion.
Guterman, J. (2005), ‘Runaway American Dream’, Da Capo Press.
Hector, J. (1995), ‘The Complete Guide to the Music of the Rolling Stones’,
Omnibus Press.
Hemphill, P. (2005), ‘Lovesick Blues: The Life of Hank Williams’, Viking
Adult.
Hyland, W. (2003), ‘George Gershwin’, Praeger.
Keys, A (2005), ‘Tears For Water: The Lyrics of Alicia Keys’, Penguin.
Kimball, R. (ed.), (1992), ‘The Complete Lyrics of Cole Porter’, Da Capo
Press.
Kimball, R. (ed.), (2001), ‘The Complete Lyrics of Irving Berlin’, Knopf.
Lodder, S. (2005), ‘Stevie Wonder: A Musical Guide to the Classic Albums’,
Publishing Group West.
McBrien, W. (2000), ‘Cole Porter’, Vintage.
Miles, B. (1997), ‘Paul McCartney: Many Years From Now’, Henry Holt and
Co.
Mitchell, J. (1999), ‘Joni Mitchell: Sheet Music’, Hal Leonard.
Montadon, M. (ed.), (2005), ‘Innocent When You Dream: Tom Waits – The
Collected Interviews’, Orion Books.
Nickson, C. (2004), ‘Hey Ya!’, St.Martin’s Griffin.
Oakley, G. (1997), ‘The Devil’s Music: A History of the Blues’ (2nd ed.),
DaCapo Press.
Paytress, M. (2003), ‘The Rolling Stones: Off the Record’, Omnibus Press.
Paytress, M. (2005), ‘Radiohead: The Complete Guide to their Music’,
Omnibus.
20Pegg, N. (2004), ‘The Complete David Bowie’, Reynolds and Hearn.
Perone, J.E. (2006), ‘The Sound of Stevie Wonder: His Words and Music’,
Praeger.
Rogan, J. (2005), ‘Van Morrison: No Surrender’, London: Secker and
Warburg.
Riley, T. (2002), ‘Tell Me Why: The Beatles Album by Album’, Da Capo
Press.
Rose, T. (1994), ‘Rap Music and Black Culture in Contemporary America’,
Wesleyan Univ. Press.
Sarig, R. (2007), ‘Third Coast: Outkast, Timbaland and How Hip-Hop
Became A Southern Thing’, Perseus Books.
Shepherd, J. (1982), ‘Tin Pan Alley’, Routledge.
Smith, L.D. (2004), ‘Elvis Costello, Joni Mitchell and the Torch Song
Tradition’, Greenwood Publishing Group.
Springsteen, B. (2003), ‘Songs’, Harper-Collins.
Stevens, D. (1960), ‘A History of Song’, W.W. Norton.
Tate, J. (ed.), (2005), ‘The Music and Art of Radiohead’, Aldershot: Ashgate.
Thompson, C. (2003), ‘Complicated Shadows: The Life and Music of Elvis
Costello’, Canongate Books.
Wald, E. (2004), ‘Escaping the Delta’, Harper-Collins.
Whiteley, S. (1997), ‘Sexing the Groove: Popular Music and Genre’,
Routledge.
Wilder, A. (1972), ‘American Popular song: The Great Innovators 1900-
1950’, OUP.
SW4003:
Allen, P. (2007), ‘Artist Management for the Music Business’, Focal Press.
Baker, B. (2006) ‘MySpace Music Marketing’, Spotlight.
Baskerville, D. (2006), ‘Music Business Handbook and Career Guide (8th
ed.), Sage.
Beall, E. , Getudis Lindsay, S. (eds.) (2004), ‘Making Music Make Money: An
Insiders Guide to Becoming Your Own Music Publisher’, Berkelee Press.
Bernstein, A. (2007), ‘The Global Music Industry: Three Perspectives’,
Taylor & Francis.
Beeching, A.M. (2005), ‘Beyond Talent: Creating a Successful Career in
Music’, OUP.
Biermans, H. (2007), ‘The Music Industry: The Practical Guide to
Understanding the Essentials’, DSS Publishing.
Blume, J. (1999), ‘6 Steps to Songwriting Success: The Comprehensive
Guide to Writing and Marketing Hit Songs’, New York: Billboard.
Braheny, J. (2006), ‘The Craft and Business of Songwriting’, Writer’s Digest
Books.
Brindley, P. (2000), ‘New Musical Entrepreneurs’, Institute for Public Policy
Research.
Committee on Small Business, U.S. House of Representatives (2006),
‘Online Music: Will Small Music Labels and Entrepreneurs Prosper in the
Internet Age?’, Freedonia Books.
Burkart, P. (2006), ‘Digital Music Wars: Ownership and Control of the
Celestial Jukebox’, Rowman & Littlefield.
21Burnett, R.C. (1996), ‘The Global Jukebox: The International Music
Industry’, Routledge.
Cloonan, M. (2007), ‘Popular Music and the State in the UK’, Ashgate.
Fisher, J.P. (1998), ‘Ruthless Self-Promotion in the Music Industry’, Hal
Leonard.
Gordon, S. (2005), ‘The Future of the Music Business: How to Succeed with
the New Digital Technologies’, Backbeat Books.
Hartley, J. (2005), ‘Creative Industries’, Blackwell.
Henry, C. (2007), ‘Entrepreneurship in the Creative industries: An
International Perspective’, Edward Elgar.
Howkins, J. (2002), ‘The Creative Economy: How People Make Money From
Ideas’, Penguin
Krasilovsky, M. W. and Shemel, S. (2003), ‘This Business of Music: The
Definitive Guide to the Music Industry’, Billboard Books.
Kusek, M. (2005), ‘The Future of Music: A Manifesto for the Digital Music
Revolution’, Berkelee Press.
Lathrop, T. (2007), ‘This Business of Global Music Marketing’, Watson-
Guptill.
Lessig, L. (2002), ‘ The Future of Ideas: The Fate of the Commons in a
Connected World’, Vintage Books.
Lessig, L. (2004), ‘Free Culture: The Nature and Future of Creativity’,
Penguin Press.
May, T. (2007), ‘Promoting Your Music’, Routledge Falmer.
Rudsenske, J.S. (2005), ‘Start an Independent Record Label’, Schirmer
Trade Books.
Talbot, M. (2002), ‘The Business of Music’, Liverpool University Press.
Walton, R (ed.), (2001), ‘Music dot.com’, Duncan Baird Publishing.
SW4006/4007:
Case, A. (2007), ‘Unlocking the Creative Potential of Recording Studio
Effects’, Focal Press.
Collins, M. (2004), ‘Pro-Tools for Music Production: Recording, Editing and
Mixing’, Focal Press.
DeMain, B. (2004), ‘In Their Own Words: Songwriters Talk about the
Creative Process’, Westport: Praeger.
Keane, T. (2004), ‘The Musician’s Guide to Pro-Tools’, McGraw-Hill.
Preve, F. (2004), ‘Power Tools for Garageband’, Backbeat Books.
Rooksby, R. (2007) ‘Arranging Songs: How to Put the Parts Together’,
Backbeat Books.
Ryan, K. and Kehew, B. (2006), ‘Recording the Beatles’, Curvebender.
Valenzuela, J. (2002), ‘The Complete Pro-Tools Handbook’, Backbeat
Books.
White, P. (2000), ‘The Sound on Sound Book of Desktop Digital Studio’,
Sanctuary.
White, P. (2002), ‘Recording and Production Techniques’, Sanctuary.
White, P. (2003), ‘Home Recording Made Easy’, Sanctuary.
White, P. (2003), ‘Creative Recording 1’, Sanctuary.
White, P. (2003), ‘Creative Recording 2’, Sanctuary.
White, P. (2004), ‘Creative Recording 3: Recording on the Move’, Sanctuary.
22Listening List
Songs from the following albums, available for hire from the library, are among
those featured in SW4002 lectures:
Ella Fitzgerald – The Songbooks
Hank Williams – 20 Greatest Hits
Robert Johnson – The Complete Recordings
Bacharach and David – Dionne Warwick Sings…
The Beatles – For Sale, Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts
Club Band, The White Album
The Kinks – Are the Village Green Preservation Society
The Rolling Stones – Let it Bleed
Holland, Dozier and Holland – Tamla Motown Gold (3CD)
Stevie Wonder – The Definitive Collection
Dan Penn and Spooner Oldham – Moments From This Theatre
Bob Dylan – Another Side, Bringing it All Back Home, John Wesley Harding
Willie Nelson – To All the Songs I’ve Loved Before, The Red-Headed Preacher
The Beach Boys – Good Vibrations (4CD)
Joni Mitchell – Blue, Court and Spark
Van Morrison – Astral Weeks
Carole King – Tapestry
David Bowie – Best of
Bruce Springsteen – The River, Nebraska
Tom Waits – Swordfishtrombones
Randy Newman – Guilty
Guy Clark – Old No.1
John Prine – Great Days
Richard and Linda Thompson – I Want To See The Bright Lights Tonight
Elvis Costello – This Year’s Model
The Pogues – If I Should Fall From Grace With God
The Jam – Sound Effects
The Clash – London Calling
Radiohead – OK Computer
Prince – The Very Best Of
Talking Heads – Sand In The Vaseline
The Police – Best of
Lucinda Williams – Car Wheels on a Gravel Road
Alicia Keys – Songs in A minor
Outkast – Speakerboxx/The Love Below
Ron Sexsmith – Ron Sexsmith
Arctic Monkeys – Whatever I Say I Am…
Flaming Lips – At War With the Mystics
Amy Winehouse – Back to Black
23How the Curriculum Meets Academic Requirements
Accreditation levels (i.e. Master’s or (M) level) are nationally
recognised through a common Framework for Higher Education
(FHEQ).
Public confidence in academic standards requires public
understanding of the achievements represented by higher education
qualifications….The main purposes of the framework are…to enable
employers, schools, parents, prospective students and others to
understand the achievements and attributes represented by the main
qualification titles…to maintain international comparability of
standards…to assist learners to identify possible progression
routes…to assist the Higher Education institutions, their external
examiners and the agency’s reviewers by providing important points
of reference for setting and assessing standards” (The Quality
Assurance Agency for Higher Education ‘Framework for Higher
Education qualifications in England, Wales and Northern Ireland,
January 2003, P.2).
Below, FHEQ framework definitions of Masters level study are
italicised.
The following commentary seeks to illustrate how MA Songwriting
seeks to incorporate those definitions;
“Much of the study undertaken at Masters level will have been at, or
informed by, the forefront of an academic or professional discipline”.
The award seeks to combine opportunities for both academic rigour in
the subject of Songwriting and student engagement in professionally
related disciplines. To be at the forefront will mean producing original
new songwriting that challenges the limitations of genre or extends
the repertoire of an existing genre.
“Students will have shown originality in the application of knowledge
and they will understand how the boundaries of knowledge are
advanced through research”.
Students will be required to produce original works and investigate at
a deep level the mechanisms involved in their own and other’s
creative processes. A considerable amount of knowledge will be
applied to original works, the developmental and inductive nature of
which constitutes research in itself.
“They will be able to deal with complex issues both systematically and
creatively, and will show originality in tackling and solving problems”.
24Songwriting is widely viewed to be ‘problem-solving’ in nature, and
students will be expected to realise creative aims by formulating
lyrical and musical ‘solutions’.
“They will have the qualities needed for employment in circumstances
requiring sound judgement, personal responsibility and initiative, in
complex and unpredictable environments”.
Students will undertake a variety of roles that will not only exemplify
professional qualities but also facilitate the acquisition of an
experiential range that will further serve to increase ‘adaptability’.
Masters degrees will be awarded to students who have demonstrated:
“a systematic understanding of knowledge, and a critical awareness
of current problems and/or new insights, much of which is at, or
informed by, the forefront of their academic discipline, field of study,
or area of professional practice”.
Course materials, both paper and electronic, are drawn from current
popular and academic discussion on songwriting. Further, course
content is evaluated by the MA Songwriting ‘Steering Group’;
academics and professional practitioners with ongoing experience
that purposefully informs the currency of the curriculum.
“a comprehensive understanding of techniques applicable to their
own research or advanced scholarship….originality in the application
of knowledge, together with a practical understanding of how
established techniques of research and enquiry are used to create
and interpret knowledge in the discipline…Conceptual understanding
that enables the student to evaluate critically current research and
advanced scholarship in the discipline, and to evaluate methodologies
and develop critiques of them and, where appropriate, to propose
new hypotheses”.
Students gain a comprehensive understanding of their own research
through metacognition and self-reflective documentation. Modules
SW4001 / 4004 provide for both critical evaluation and the proposal
of new hypothesis to occur.
Typically, holders of the qualification will be able to:
“deal with complex issues both systematically and creatively, make
sound judgements in the absence of complete data, and
communicate their conclusions clearly to specialist and non-specialist
audiences”.
Songwriting involves the making of sound judgements in the absence
of complete data (the complete data being the solution of completing
25the song itself). During the presentation, industrial Q and A and
recording modules (SW4002 / SW4003/ SW4007), students are given
the opportunity to communicate their ideas and conclusions.
“demonstrate self-direction and originality in tackling and solving
problems, and act autonomously in planning and implementing tasks
at a professional or equivalent level”.
Many of the tasks in MA Songwriting are based upon practices that
occur regularly in professional songwriting practice; the performance,
recording and critical discussion of songs (SW4001 / SW4004), re-
writing (SW4004), collaboration (SW4006) and the recording of an
album (SW4004).
“continue to advance their knowledge and understanding, and to
develop new skills to a high level” –
Students advance their knowledge and understanding of ways in
which their own work might gain commercial currency in SW4003.
Songwriting skills are developed to a ‘publishable’ level.
And will have:
“The qualities and transferable skills necessary for employment
requiring the exercising of initiative and personal responsibility,
decision making in complex and unpredictable circumstances and the
independent learning ability for continuing professional development”.
Collaboration (SW4005) occurs in an environment in which the
outcomes are subject to the malleable nature of creative synthesis.
Initiative is required in writing songs, developing song performance
and engaging in song discussion. Since the nature of the listener /
audience response is, at the time of the performance, unknown, the
act of writing and performing songs takes place under complex and
unpredictable circumstances.
26BATH SPA UNIVERSITY
DEPARTMENT OF MUSIC
MA SONGWRITING
Accreditation of Prior (Experiential) Learning
Name: .................................................... Date of birth: .........................................
Address: ................................................. ………………………………………
Contact phone number:............................. Email: ...................................................
Course applied for: ................................... Date of proposed start: ...........................
About this document
The normal expectation in UK Higher Education is that applicants for postgraduate programmes will have
a first degree. If an applicant has not achieved this, the expectation is that they must demonstrate
equivalent learning and achievement; this is the purpose of the AP(E)L process. Please note that, in
addition to this form, you will need to complete and submit a seperate ‘Application for admission’ form.
In order to demonstrate your prior experiential learning, we ask you to answer the questions listed at
the bottom of this sheet. Answers should be
• Word-processed
• Double-spaced
• Stapled to this cover sheet
1. Introduction
Describe why you have applied for this programme (in academic and career terms)
and how it relates to your prior learning, academically and experientially. (500
words)
2. Experience
Summarise your experience as it relates to your course of study and to learning in
general. Include musical and non-musical examples. (500 words)
3. Learning Account
With reference to question 2, reflect upon what you have learned from these
experiences, particularly with reference to your experience as a songwriter. (300
words)
4. Learning Outcomes
How have your songwriting skills and knowledge advanced as a result of the
learning experiences detailed in question 2? Include specific examples as
supporting evidence. (400 words)
5. Evidence
Please include the following. Additional evidence may be attached in paper form.
5a. A CD portfolio of your work (four examples of your own songwriting)
Note: This portfolio will serve as your admission application CD; there is
no need to send 2 CDs.
5b. Full track listing and a detailed description of the creative, musical and
technical processes you used to create the portfolio (500 words).
5c. A written critique of your own work, describing objectively its musical
strengths, including a discussion of how it could be further improved if it
were to be re-recorded or otherwise adapted. (300 words)
Please send completed applications to the following address
Liz Rack, c/o The Course Director,
MA Songwriting (ref:APEL)
Bath Spa University
Newton Park, Bath
BA2 9BN
27Unfair Practice and Plagiarism
Unfair Practice
Unacceptable academic practice, particularly in assessment, is known
as Unfair Practice. Unfair Practice may take a variety of forms, which
cannot all be covered in detail here, but the most common are
cheating in formal examinations and the plagiarism of coursework.
Others include collusion with other students for the production of
written work, impersonation in examinations, or submission of
fraudulent mitigating circumstances evidence. The penalties for unfair
practice are severe (see below), and if students are in any doubt
about what constitutes acceptable academic practice they must
consult their tutors for advice.
Plagiarism
Plagiarism is defined in the Oxford English Dictionary as ‘the taking
and using as one’s own of the thoughts, writing or inventions of
another’. It does not matter whether the source was an original
document, a book or article, or a fellow student.
Plagiarism can take a variety of forms:
a) Copying sections from one or more books or articles without acknowledgement of
the source(s). Note the phrase ‘one or more’. It is still plagiarism if you reproduce
sections from several sources rather than one, in a ‘cut and paste’ approach.
b) Excessive dependence upon one or a limited number of sources is plagiarism if
the sources are inadequately referenced, even if the exact wording used by the
original author(s) has been modified.
c) Collusion with other students. Students should be aware of the distinction between
‘collaboration’ and ‘collusion’. Some assignments encourage or require students to
collaborate with fellow students and submit joint work. The majority, however,
assess individual work, and do not permit collusion. Students should never submit
joint work unless it is clearly required by the module’s written documentation, and in
such cases students should always seek clarification from their tutors as to the level
of collaboration that is acceptable.
You should ensure that your work (whether paper-based or on computer disk) is not made
available to other students. Failure to secure work adequately can mean that you may be
implicated in an accusation of plagiarism.
You are expected to present your own words, your own analysis and
your own argument. It is acceptable to use the work of others to
support arguments and analysis, and tutors will be able to inform you
as to what constitutes good practice and to give help with subjects
such as referencing and the provision of footnotes. If you are in any
doubt about what constitutes good practice rather than plagiarism,
you must consult your tutors for advice.
28It is not acceptable to submit the same piece of work for different
assessments or modules, nor may you re-use work originally
submitted at another institution for which credit has already been
obtained. This constitutes ‘double counting’. You may legitimately
draw on the same body of material for more than one assignment,
but it is never acceptable to submit the same work. If in any doubt
about acceptable practice, you should consult your tutors for advice
before submission.
Students should be in no doubt that plagiarism is CHEATING, and is a very serious offence in
higher education. Pleas that a student was not aware of the offence or its consequences, or did
not understand what constitutes plagiarism, will not be accepted under any circumstances.
Plagiarism will result in a penalty even when it is unintended or unwitting.
The University is concerned that you get proper credit for your work.
This means making sure that you are properly assessed in relation to
the learning outcomes specified for your modules, and also in relation
to other students. Proper assessment is compromised when students
engage in unfair practice, in particular when they plagiarize, or
otherwise present others' work as their own.
To help prevent this practice, the University subscribes to a
Plagiarism Detection Service (PDS). This compares work submitted to
it with millions of pages of internet-based material -- including work
uploaded to the service by other students at BSU and in other
universities. For every module, the University submits to the PDS any
work where copying is suspected, and also a random selection of
other work.
Penalties for Unfair Practice
Where an accusation of unfair practice has been substantiated to the
satisfaction of the Unfair Practice subcommittee, the accusation is
said to be established. The subcommittee shall judge the seriousness
of the offence and exercise its discretion in applying an appropriate
penalty. In determining the appropriate level of penalty to be applied
the subcommittee will consider the extent of the unfair practice, the
degree of deception involved, whether the student has been subject
to a previous accusation of unfair practice, and any admission and
explanation by the student of the unfair practice.
The subcommittee will apply a penalty in the following range:
In cases of unwitting plagiarism only, that is when it is agreed
that the student cannot reasonably be expected to have
realised that plagiarism had occurred:
29You can also read
