8596 modules
Page 565
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MUSI3148 2026-27
Music in the Community with Bournemouth Symphony Orchestra
This innovative module, developed and delivered in close collaboration with the BSO Participate Team, will allow you to develop a range of skills and experience in community music practice. You will undertake training with BSO Associates and members of the BSO Participate Team in how to develop, lead and run music workshops. You will document what you have learnt through a learning diary. You will also research and deliver an individual presentation focused on a topic related to community music.
A minimum of 20 students are required to run this module and there is a cap of 30 students with level 6 students having priority over level 5 and level 7 students. -
MUSI3148 2027-28
Music in the Community with Bournemouth Symphony Orchestra
This innovative module, developed and delivered in close collaboration with the BSO Participate Team, will allow you to develop a range of skills and experience in community music practice. You will undertake training with BSO Associates and members of the BSO Participate Team in how to develop, lead and run music workshops. You will document what you have learnt through a learning diary. You will also research and deliver an individual presentation focused on a topic related to community music.
A minimum of 20 students are required to run this module and there is a cap of 30 students with level 6 students having priority over level 5 and level 7 students. -
MUSI3148 2028-29
Music in the Community with Bournemouth Symphony Orchestra
This innovative module, developed and delivered in close collaboration with the BSO Participate Team, will allow you to develop a range of skills and experience in community music practice. You will undertake training with BSO Associates and members of the BSO Participate Team in how to develop, lead and run music workshops. You will document what you have learnt through a learning diary. You will also research and deliver an individual presentation focused on a topic related to community music.
A minimum of 20 students are required to run this module and there is a cap of 30 students with level 6 students having priority over level 5 and level 7 students. -
MUSI6044 2026-27
Music Management Final Project
The Music Management Final Project is the final stage of the MA in International Music Management. The aim of this module is to promote a concerted period of independent study alongside tutorials and peer discussion and feedback. -
MUSI6044 2025-26
Music Management Final Project
The Music Management Final Project is the final stage of the MA in International Music Management. The aim of this module is to promote a concerted period of independent study alongside tutorials and peer discussion and feedback. -
MUSI6037 2026-27
Music Management Fundamentals
Music Management Fundamentals lays advanced theoretical foundations for the practical work you will learn to do later in the Programme. Why is the international music business organised the way it is? What forces – technological, economic, political and creative – have driven industry developments in the past, and where are they likely to drive it in future? How do audiences consume music? How are consumption patterns changing? What motivates musicians to make music; and why do audiences want to listen? These questions matter because they define the context in which music managers have to operate.
What do managers actually do? What do managers have in common with entrepreneurs? How might the roles of manager and entrepreneur differ, and how might they be combined? What impact can you, as manager, have to ensure ethical practices?
To answer questions like these, Music Management Fundamentals will introduce you to a set of academic theories and show you how the theories can be used both to explain the structure of the music industry and to predict some of the changes likely to affect the industry in years ahead. -
MUSI6037 2025-26
Music Management Fundamentals
Music Management Fundamentals lays advanced theoretical foundations for the practical work you will learn to do later in the Programme. Why is the international music business organised the way it is? What forces – technological, economic, political and creative – have driven industry developments in the past, and where are they likely to drive it in future? How do audiences consume music? How are consumption patterns changing? What motivates musicians to make music; and why do audiences want to listen? These questions matter because they define the context in which music managers have to operate.
What do managers actually do? What do managers have in common with entrepreneurs? How might the roles of manager and entrepreneur differ, and how might they be combined? What impact can you, as manager, have to ensure ethical practices?
To answer questions like these, Music Management Fundamentals will introduce you to a set of academic theories and show you how the theories can be used both to explain the structure of the music industry and to predict some of the changes likely to affect the industry in years ahead. -
MUSI1030 2026-27
Music Production Fundamentals
This module introduces the fundamentals of contemporary music production– analogue and digital audio, MIDI, digital audio workstations, synthesisers, samplers, processors; practical audio recording, MIDI sequencing and audio mixing. -
MUSI1030 2025-26
Music Production Fundamentals
This module introduces the fundamentals of contemporary music production– analogue and digital audio, MIDI, digital audio workstations, synthesisers, samplers, processors; practical audio recording, MIDI sequencing and audio mixing. -
MUSI1032 2026-27
Music sources and transmission
What constitutes music? What constitutes its source, and how is it transmitted to musicians and audiences? And how has this changed over the centuries?
In this module, we will explore and challenge traditional narratives about the primacy of written music, providing you with opportunities to explore and engage critically with the impact, value, and limitations of different approaches to the study of what constitutes a musical “work.” We will engage with questions of class, inclusivity, music alphabetization and education, oral transmission in global contexts, improvisation, and the role of recordings in capturing, preserving and transmitting music, as well as the materiality and immateriality of music as cultural heritage.