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Csm5 module handbook


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Csm5 module handbook

  1. 1. Module Handbook for CSM5 Production, Major Project Part 1
  2. 2. Contents 1. Module Information Page 1 2. Module contacts Page 2 3. Module Tools Page 2 4. Introduction Page 3 5. Module Requirements Page 4 6. Rationale Page 5 7. Aims Page 5 8. Learning Outcomes Page 5 9. Indicative Content Page 5 10. Teaching Learning Strategy Page 6 11. Assessment Requirements Page 6 12. Assessment Definitions Page 7 13. Assessment Criteria Page 8 14. Grade Definitions Page 8 15. Collaboration Page 9 16. Late submissions Page 9 17. Extenuating Circumstances Page 10 18. Referral / Deferral Page 11 19. Written Work Page 11 20. Unfair Practice Page 12 21. Reading List Page 13 22. Student Evaluation Page 14 23. Studio Use Page 14 24. Additional Information Page 15 25. Booking Forms Page 19
  3. 3. 1. Module Information Module Title: CSM5: Production, Major Project Part 1 Module Code: G106008 Level 6 Semester: 5 Credits: 40 Module Leader: Tim Land Duration (Hours): Supported Hours: 100 Directed Studies: 100 Independent Studies: 200 Assessment items: Product Context document Release Strategy document Performance / Exhibition plan Assessment delivery: Submitted work in physical and electronic form. Presentation at assessment events. Submission Dates: Mid Term Formative: Hand In: 1pm, 6th December 2010 Assessment events: 7th & 9TH December 2010 Final Summative Hand In: 1pm, 28th January 2011 Assessment events: 31ST January / 1st & 3rd February 2011 Place of Submission: Mid Term Formative: Newport School of AMD student desk / reception, Caerleon Campus Final Summative: Studio A25, City Centre Campus (TBC) 1
  4. 4. 2. Module Contacts: Module Leader: Tim Land 01633 432671 Module Tutor: Andre Ktori 01633 432671 
 Project Supervisor: Nic Finch 01633 432671 Project Supervisor: Matthew Lovett 01633 432608 Technical Supervisor: Matthew Jackson 01633 432602 Technical Supervisor: Jamie Thomas 01633 432602 Stores bookings: Richard Hemmingway 01633 432602 3. Module tools: CSM5 Blog CSM5 Moodle (Courses – CSM5) Audio Sharing 2
  5. 5. 4. Introduction: Year 3 and CSM5 Welcome back and congratulations on your progression to year 3 of Creative Sound and Music. This year you will have the opportunity to use all the skills, knowledge and understanding you have gained in year 1 and 2 in producing your final major project works. In CSM5 you will be continually engaged in the production and completion of a commercially viable musical or music-media work, finished to professional standards in every regard. The semester will predominantly be taken up with the production of this work supported by sessions such as individual and group tutorials, A&R, running discourse and production meetings with your tutor. Everyone by now is aware of how time consuming it can be to create works that meet a professional criteria and an industry standard of production. You will therefore revisit your production schedule produced as part of CSM4 module in order to confirm that the resources and schedules are achievable. You will then present your project plan early in the semester, which will then inform all studio bookings and deadlines. The work will be formatively assessed at the mid term event at which point all recording and pre-production work should be complete. You will therefore be required to submit a draft mix / version / prototype of the work alongside with any supporting material. As requested, you will all have written or prepared the work/s you are about to produce and therefore will have a strong idea about audience and market. You should start to consider how your work will be distributed or disseminated and the additional work load this will incur such as pressing, duplicating, inlay covers etc for Vinyl, CD or DVD; or designing image, navigation, format etc. for web, mobile or app. Whatever you are producing, you will be required to have the finished album, film, software or interactive installation completed to a professional standard for your summative assessment. This will be your last opportunity during this programme to produce a major product and you should make this work for you in terms of being a major component of your portfolio. This is what you will be presenting to industry or postgraduate programmes as a reference and representation of yourself. We hope you have a productive and rewarding semester. 3
  6. 6. 5. Module Requirements: There are four main requirements for the completion of the module: • Product • Context document • Release Strategy document • Performance / Exhibition plan Product: The product can be any musical or music media work as discussed with your tutor suitable for the major project. This may take the form of a recorded work in EP or album format. It could be Film or Video / Software / App / Installation or other site-specific work. Your CSM4 work should have helped to define this for you by now but it is also possible to modify and add to the project as necessary. The final product will have to be submitted in an appropriate form relative to your market and audience. Packaging, artwork and platform are all part of this, producing a final product for professional presentation. Context document This is a document detailing the context for your work. The context of your work will help to define the relevance and assessment of your product and contribute to your professional self-awareness. It should utilise the research generated from CSM4 along with continuing evaluation of the project from yourself, peers and tutors. You should document the domain in which your work residues - historical, aesthetic, cultural and commercial. You will then need to evaluate your own work in relation to these definitions. Release Strategy Document This is a document detailing a release strategy for distribution to the public. A release strategy will specify the methods in which you will make the product available to it’s relevant audience and how you will make them aware of it through marketing. This should detail realistic and achievable routes for distribution and identify accessible marketing tools. A schedule for delivery and promotion should also be included. Performance / Exhibition Plan: This is a detailed plan of your intended performance or exhibition for the Major Project part 2 (CSM6). It is expected that the work generated in CSM5 will continue through into a presentable form for live representation. How you intend to realise this will be the focus of the plan. 4
  7. 7. The following pages are taken from the definitive programme document. Please pay special attention to all criteria and requirements. If you need to clarify anything at all please do not hesitate to ask for help from your tutor. 6. Rationale This module will advance students’ own work and will develop their techniques and artistic voices beyond levels four and five. The module concentrates mainly on the production of an original composition or arrangement leading to a recorded work worthy of distribution. Students will have the opportunity to focus solely on studio practice consolidating the practical elements of level four including composition, musicianship, recording and engineering, production, arranging and mastering. 7. Aims 1. Advance students’ individual musical personality or 'voice' and originality in creative work. 2. Extend students composition and arranging skills to an advanced level of sophistication. 3. Progress students musicianship skills to an advanced level 4. Advance students audio post production skills and techniques to a professional standard 5. Acquire a deeper level of understanding of the processes involved in the creation and manipulation of musical materials and to present results in a coherent form 8. Learning Outcomes On successful completion of this module students will be able to demonstrate: 1. An individual musical personality or 'voice', through advanced technical skills, deeper levels of interpretative insight, a broader range of personal expression, and originality in creative work. 2. The ability to memorise and internalise longer and more complex materials, and to deal with a range of notations or sound sources 3. The ability to recognise (analyse) musical organisation to an advanced level where such organisation is complex or ambiguous, and to show an awareness of a range of different approaches 4. The ability to carry out independent learning as a basis for academic study and personal professional development 5. An advanced competence in audio production practices, processes, techniques and methodologies 6. The ability to identify targets, organise resources, manage workloads and meet deadlines in order to achieve intended goals 9. Indicative Content Students will be continually engaged in self-directed technical, literary and artistic research to a high professional standard, leading to the production of a work worthy of publication. The module will be introduced by a briefing session and by a series of workshops, seminars and group tutorials, which will constructively analyse and critique individual projects. 5
  8. 8. Students will be supported in the research and writing of a context and strategy document through the use of lectures and tutorials. Planning for the next module will also be supported through the same process resulting in a performance/exhibition plan. Master class/seminars will be presented by tutors and visiting guest lectures exploring concepts, and themes for work. Students will be supported in advanced audio and media production in the form of technology surgeries. 10. Learning and Teaching Strategy 1. Lectures and seminars will be used to introduce the ideas underpinning the module and to stimulate discussion and debate; 2. Workshop sessions will address the acquisition of skills and techniques within a group context; 3. Group tutorials will be used for group presentations to develop presentation, negotiation and communication skills; 4. One to one tutorials supporting the student placement and individual development of self-direction and independent research; 5. Independent learning, including directed reading and listening. 6. Use of computer-assisted learning, including email, discussion forums and web research. 7. Workshop / master classes will be used to introduce specific aspects of practice through contact with active professionals in the field; 11. Assessment Requirements Mid Term (Formative) Students will be required to submit a draft mix / version / prototype of the work in progress. This must be submitted on a CD / DVD as a recording or video documentation of the work. Software based work can be submitted if running as a standalone application or with prior agreement with the tutor. The work must then be presented at an assessment event where supporting material can be used such as artwork, release strategy and any appropriate contextual evidence. Final Assessment (Summative) Submitted work: a) Product – the final product must be submitted in it’s original form. This must be supported (or substituted by prior arrangement) with the product in digital form on CD/DVD as audio, video or any other archiving method necessary to document the work in its entirety. b) Context Document – This must be 1000 words. It should be submitted in electronic form on a CD/DVD as a word document or PDF. It must also be published on your research website. c) Release Strategy Document – This should be 1000 words approx and be formatted logically for clarity of information. It should be submitted in electronic form on a CD/DVD as a word document or PDF. It must also be published on your research website. 6
  9. 9. d) Performance / Exhibition Plan - This must be 1000 words detailing the concepts for a performance/exhibition of the work for the next module. It should include a schedule for rehearsal and a list of equipment needs. It must also be published on your research website. Presented Work: a) Assessment Event One: This will require that you present your product with information regarding to its context and release strategy. It will last 20 minutes and should utilise presentation tools. b) Assessment Event Two: This is a presentation of your performance/exhibition plan. It should last no longer than 10 minutes and will be followed by feedback. Workshop and studio practice Students will be required to attend all scheduled workshops, lectures, critiques and tutorials for the module. Students are also required to uphold the terms and conditions set out by the programme for studio practice and bookings and the responsible care of all equipment. These assessment elements will form 100% of the module grade (Learning Outcomes 1 – 6) 12. Assessment Definitions What is Formative Assessment Formative assessment is an interim 'work in progress' diagnosis carried out during the assignment period, providing the student with the opportunity for feedback from the Programme staff. The purpose of this input is to give the student advice on "where you are at" with the project and how to improve the quality of learning. Formative assessment maybe carried out through group or individual tutorials and critiques. What is Summative Assessment Summative assessment is more comprehensive in nature and is used to check the level of the student’s learning at the end of an assignment (here the student will be assigned a final grade subject to Exam Board ratification, using the Assessment Criteria set out in the Module Handbook). The purpose of this is to ensure that the student has understood and met the programme goals and objectives and to monitor the level that has been achieved in meeting the learning outcomes set out in the module briefs. All assessment elements in the module must be attempted and the student must achieve a minimum of E4 in all elements, and an overall average of D5 in order to achieve credit. All assessed elements will be equally weighted in calculating the final grade. In the event of failure, students will be instructed to retrieve the element or elements of the course, which they have failed. Group projects will be given individual retrieval tasks in the event of failure. (Refer to regulations 21 and 22 for Module Initial Degrees) learning outcomes set out in the module briefs. 7
  10. 10. 13. Assessment Criteria All assessment criteria will be applied in accordance with the HEFCW generic descriptors for Level Six. The work will be assessed according to the following criteria: Outcome: students will be expected to show evidence of the exercise of creativity, inventiveness and aesthetic sensitivity in realising the brief. (Learning Outcomes 1 - 6) Technical Competence: students will be expected to demonstrate a competence in the technical skills required for and relevant to their assessed work. (Learning Outcomes 1 - 6) Critical Understanding: students will be expected to demonstrate an understanding of the theoretical issues and debates raised in both the practical and theoretical modules, make clear the range of theoretical positions in their work and provide evidence of depth of study. (Learning Outcomes 1 - 6) Organisation: students will be expected to demonstrate effective time and resource management, work effectively as a member of a team in a professional setting and meet all deadlines. (Learning Outcomes 3, 4, 5 & 6) 14. Grading Definitions Practice-based Projects A16/A15/A14: A First at degree level is work of outstanding overall quality. It will consist of an original and ambitious project/performance, which has achieved its goals with a excellent of technical competence. It will be informed both by the strength of its original idea(s) and an appropriate and distinctive structure. It will have been well researched / planned and exhibit a highly developed critical awareness and conceptual understanding of the medium. B13/B12/B11: A 2.1 at degree level is work that achieves a very high overall standard. The work will have achieved its goals and will demonstrate a significant degree of imagination and ambition with a very good level of technical competence. It will be well structured. It will show significant evidence of research/planning and demonstrate a strong critical awareness and conceptual understanding of the medium. C10/C9/C8 A 2.2 at degree level is work of a good overall standard showing understanding of conventions, although these may be limited. It will have achieved some of its primary goals. Technically it will be competent with a recognisable structure. It will be based on a degree of research/planning and exhibit some critical awareness and conceptual understanding of the medium. D7/D6/D5 A Third at degree level is work with some ability to communicate and an overall satisfactory – weak standard. It demonstrates some understanding of conventions and it is likely that its goals will have been achieved to only a limited extent. Technical competence will range from 8
  11. 11. adequate to poor and it will lack a clear structure. It will show evidence of minimal research/planning and indicate some critical or conceptual understanding of the medium. E4/F3/F2/F1 A Fail at degree level is work of overall poor to very poor quality. Its technical standard, content and structure will be extremely weak. Its goals will be confused and/there will have been little attempt to achieve them. There will be no evidence of original research or understanding of the medium. Written Work A14-A16 (First Class degree level) Outstanding work that conveys not only mastery of the basic material and a grasp of conceptual issues, but also sustains a focus of investigation. It will show significant original and independent thought with a high level of analysis communicated with articulate and accurate expression. A wide range of primary and secondary texts will have been used with confidence. Work at the top end of this range will show a high degree of flair, scholarship and originality. Students will have shown a very detailed knowledge of the subject and presented an argument in a sophisticated way. There will be evidence of independent reading, and research that is organised with outstanding clarity and shows an ability to evaluate material critically. B11-B13 (Upper Second Class Degree Level) Very good work which demonstrates a clear understanding of conceptual issues and of the basic material of the course and the ability to apply critical and analytical skills with a good degree of fluency and accuracy. Work at this level should present a well-structured, coherent argument showing an ability to synthesise ideas based on research and reading. Work at the upper end of this range may be showing some, but not all, of achievements at the higher levels. C8-C10 (Lower Second Class Degree Level) A good piece of work in which understanding of the basic material is demonstrated, together with some degree of awareness of critical issues and a certain amount of ability to deal with conceptual issues. The structure of the argument may be loose and although expression should be accurate, occasional stylistic or syntactical problems may occur. Work at this level may indicate an over-reliance on obvious secondary sources or lecture notes. Work at the upper end of this range may be showing some, but not all, of achievements at higher levels. D5-D7 (Third Class Degree) These grades signify work that is of a satisfactory standard. They will reflect difficulty in understanding the basic material or critical ideas of the course, but will be conceptually weak. There will be some confusion over issues raised by the assignment and will be based on obvious sources and lecture notes in an uncritical fashion with the use of possibly irrelevant primary and secondary material. Grammatical, syntactical and spelling errors are frequent in work achieving these grades. Work at the upper end of this range may be showing some, but not all, of achievements at a higher level. E4 (Marginal Fail) This is work that has marginally failed. There will be inadequate evidence of understanding, research and thought to merit a pass grade. It is likely to suffer from serious deficiencies in grammar and spelling. Work attaining this grade is only considered a pass if augmented by work of a higher grade in all other areas of the assessment. 9
  12. 12. F1-F3 (Fail) This range is from work that is unsatisfactory at all levels to work that is overall of an unsatisfactory level. There may be serious misunderstanding of the issues, gross errors of fact and interpretation and only a minimal level of coherence in presenting an argument. There may be considerable errors of syntax and spelling. The student may not have attempted to apply the department’s conventions on presentation or followed these only sporadically and sloppily. At the higher end of this range there will be some knowledge shown but this will be flawed in the detail. The work will show only limited competency in written English. 15. Collaboration Where collaboration is involved, the work will be presented and assessed as a single body. However, the specific contribution of all team members must be clearly identified, and the grades for individual contributions may be subject to moderation. 16. Late Submission Penalties If you hand in work up to 1 week late, your grade is reduced by 1 alpha-numeric grade i.e. B13 is reduced to a C10. If it is up to 2 weeks late it is reduced 2 alpha-numeric points i.e. B13 to D7. If it is more than 2 weeks late you receive a 0 grade. ON-TIME GRADE LATE WITHIN 1 LATE WITHIN 2 LATE BEYOND 2 WEEK WEEKS WEEKS A16 B13 C10 0 A15 B12 C9 0 A14 B11 C8 0 B13 C10 D7 0 B12 C9 D6 0 B11 C8 D5 0 C10 D7 E4 0 C9 D6 F3 0 C8 D5 F2 0 D7 E4 F1 0 D6 F3 F1 0 D5 F2 F1 0 E4 F1 F1 0 F3 F1 F1 0 F2 F1 F1 0 F1 F1 F1 0 17. Extenuating Circumstances If you have missed an assessment/examination due date or your performance has been adversely affected, and you believe that circumstances beyond your control were the cause, you may ask for those circumstances to be considered by the Student Affairs Panel. Complete Form EC1 (available from Reception or the Academic Registry website and send it together with relevant supporting documentation to the Elizabeth Clark, School Registrar or hand it into Reception. 10
  13. 13. Please read the Guidance Notes and complete the EC1 form carefully. The Student Affairs Panel will not be able to consider your request unless it provides all the necessary information. Please make your module leader aware at the earliest opportunity and ask for help and advice Refer to 18. Referral/Deferral All assessment elements in the module must be attempted and you must achieve a minimum of D5 in order to achieve credit. All assessed elements will be equally weighted in calculating the final grade. Failure of the assessment can be retrieved by a resubmission of the work. If this happens, then your overall grade for the module will be the minimum pass grade of D5. Group projects will be given individual retrieval tasks in the event of failure. If you have a Deferral, then the retrieved piece of work will be awarded the grade it deserves. If you are unsure about ANY of these points, don’t hesitate to ask for clarification with the programme team BEFORE your assessment. 19. Written work • Word-processed work should be double-spaced and checked for spelling and grammar. • The critical appraisal should address itself directly to the production and performance process and show evidence that it has been planned with an introduction and a logical presentation of ideas leading to a conclusion. • All work must be your own and be properly referenced using the Harvard system of referencing. Referencing The following applies to all essays, evaluations and portfolio work: • Make sure that you include a bibliography of any sources used (see the library leaflet on HARVARD conventions for the layout of bibliographies and references) • Include references to the sources of all quotations, facts, statistics and matters of opinion which are not your own, at the point where they occur in the presentation • The library leaflet explains how to make references. These sources should be listed at the end in the bibliography. This is very important, and should be followed carefully to avoid any possible suspicion that you are submitting work that is not entirely your own • Downloaded sections from Internet sites, text cut and pasted from CD-ROMs, or extracts from printed books, should never be used in academic contexts without full and explicit referencing to the source. Avoid using the Internet as the main source of your research, unless it is clearly a peer-reviewed academic source. 11
  14. 14. Writing Support:

 Caerleon Telephone - (0) 1633 432109 Email: 20. Unfair Practice “Unfair practice” refers to all breaches of assessment regulations that might give an unfair advantage to a student in gaining a higher grade than his/her ability would merit, and includes: • copying or using unauthorised materials or the work of another student • impersonating another student, or allowing yourself to be impersonated • submitting someone else’s work for assessment as though it were your own (plagiarism) • claiming to have carried out research or obtained results which in fact you haven’t • presenting false information about special circumstances, intended to mislead The action which will be taken in the case of suspected unfair practice is detailed in regulation 6 on the registry's website, and, if a Committee of Inquiry finds it proven, may result in penalties ranging from a reprimand, to cancellation of marks, to disqualification from study. Plagiarism Please note that correct referencing of source material, which you use in assessments is not just good practice, but also is a protection against allegations of the unfair practice of plagiarism. Students are often expected to read widely in texts, journals or websites in preparation for assessments, but not to create a piece of work which is composed significantly of others’ words (even if referenced). Your own ability to think, reflect, analyse, and synthesise needs to be assessed, not just your ability to select sources. You will be credited for your research and use of sources. The Complaints Process The complaints process the University uses is called FAIR which stand for the Framework for Amicable Issue Resolutions. If you have a complaint or an issue that needs to be resolved, your first port of call should be either the tutor or someone on the Programme team. If you still have issues or reason for complaint after taking this first step then you need to contact your School Registrar either by email: or by letter. The School Registrar will explain to you the FAIR process and will arrange an initial meeting which is called an early remedy meeting. You will be invited to meet with the tutor or a representative of the service provider which has lead to the issue, and the Registrar. The Registrar will act as a facilitator in order to reach a resolution which is suitable to those present at the meeting. If a resolution is not found then the complaint will be progressed through the FAIR process and if this is the case the Registrar will explain the process to you at the time. More information on 12
  15. 15. the FAIR process may be found at the link below: <> 21. Reading List Clark, W, Cogan, J, Jones, Q. 2003. Temples of Sound: Inside the Great Recording Studios. Chronicle Books. Collins, K. 2008. From Pac-Man to Pop Music : Interactive Audio in Games and New Media. Ashgate Cook, P. 2001. Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. The MIT Press. Cunningham, M, Parson, A, Eno B. 1999. Good Vibrations: A History of Record Production. Sanctuary Publishing Ltd. du Gay, P (Ed). 1998. Production of Culture/Cultures of Production (Culture, Media and Identities series) SAGE Publications. Gibbs, T 2007 The fundamentals of sonic art & sound design. AVA Academia Gill, S (ED), Bakker, I (Ed). 2004. Power, Production and Social Reproduction : Human In/security in the Global Political Economy. Palgrave Macmillan. Gitelman, L. 1999. Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era. Stanford University Press. Hegarty, P. 2007. Noise / Music : A History. Continuum Hoffert, P. 2007. Music for New Media : Composing for Videogames, Web Sites, Presentations, and Other Interactive Media. Berklee Kahn, D (Ed), Whitehead, G (Ed). 1994. Wireless Imagination: Sound, Radio, and the Avant-Garde. The MIT Press LaBelle, B. 2006 Background Noise : Perspectives On Sound Art. Continuum Miller, P. 2008. Sound Unbound : Sampling Digital Music and Culture. MIT Press Oliveros, P. 2005. Deep Listening : A Composer’s Sound Practice. iUniverse Roads, C. 2001. Microsound. The MIT Press Rutsky, R.L. 1999. High Techne. University of Minnesota Press 13
  16. 16. Schwartz, E and Childs, B. 1998. Contemporary Composers On Contemporary Music. Da Capo Press Inc Schafer, R. M. 1977. The Soundscape : Our Sonic Environment and the Tuning of the World. Destiny Books Winkler, T. 1998. Composing Interactive Music. The MIT Press Xenakis, I. 1971. Formalised Music. Indiana University Press Zorn, J. 1999. Arcana : Musicians On Music. Granary Books 22. Student Evaluation Student feedback will be elicited through: 1. Personal tutorials. 2. Critiques and seminar based discussions. 3. Student representative reports at Subject Boards. 4. A standard module feedback questionnaire will be used across the School of Art, Media and Design at the end of every module. Feedback will be analysed and a summary for each module will be kept with each relevant programme AME file of evidence in the School office. 23. Studio Use You are also required to uphold the terms and conditions set out by the programme for studio practice and bookings and the responsible care of all equipment. Studio Hours CSM 5 students will be allocated studio hours according to the schedule that you have written and submitted at the beginning of the module. You should consider carefully how and when these allocated hours are used for production. Please contact your module leader or CSM technical staff if you need help in organising studio time Studio booking forms and conditions of use Please photocopy the forms included in this handbook in order to make your studio bookings. Students are advised to plan their use of equipment well in advance, in order to facilitate their own and each other’s ease of study. Stores CSM Technicians will be available at the following times for stores bookings: 11.30 -12.30 Monday – Friday Late return of items or misuse of studios will result in bans being implemented. 14
  17. 17. Stores booking forms and conditions of use Please photocopy the forms included in this handbook in order to make stores bookings. Students are advised to plan their use of equipment well in advance, in order to facilitate their own and each other’s ease of study. 24. Additional Information Personal Development Planning (PDP) Personal Development Planning is seen as a valuable process that is structured and supported by you to reflect upon your own learning, performance and / or achievement. It will also enable you to plan for your personal, educational and career development. The objective of the PDP is to help you to: • improve your capacity as individuals • understand what and how you are learning • review, plan and take responsibility for your own learning • become more effective, independent and confident self-directed learners • understand how you are learning and relate your learning to a wider context • improve your general skills for study and career management • articulate personal goals • evaluate progress towards your achievement • encourage a positive attitude to learning throughout your life. How will this all work? The PDP is integrated into the programme through meetings held with your personal tutor no less than 3 times every year in order to discuss overall progress, identify your support needs and recognise and record your achievements and strengths. The construction of a Progress File is combined with preparation of a portfolio/ that will be of real use to you as you move to a post-degree destination. The PDP paperwork belongs to you, but your tutors will keep appropriate records that can be made available to you on request. The intention of PDP is to support your learning and development and it is therefore fully integrated into programme as follows: 15
  18. 18. Level 6 Meeting When Purpose Progress 1st personal To renew contact after summer vacation, to reflect upon and Meeting 6 CSM5 tutorial update the record of your needs and to consider your overall progress indicated by assessment records Progress Assessment To discuss your progress to date, with particular emphasis on Meeting 7 Feedback preparation for post-degree destination, to reflect upon and CSM5 update your record of needs, with particular emphasis on support for presenting work in a professional context. Progress Assessment To discuss your progress to date, with particular emphasis on Meeting 8 Feedback the evident strengths of your achievements that can inform the CSM6 presentation of work to a potential employer or other post- degree destination Communication: email The academic board has agreed that e-mails sent to your University e-mail account are a legitimate form of communication (that is equivalent to paper-based communication). You are advised to check your University e-mail account on a regular basis. sms The School of Art media and Design runs an sms system, which allows us to inform you of any last minute changes to the programme. Please advise your module leader of any change of your mobile telephone number we can keep you informed. STUDENT SUPPORT SERVICES Allt-yr-yn Campus: 01633 432396 Caerleon Campus: 01633 432657 Student Support Services provide specialist services to enable students to get the best out of their time at University. They are also available to staff, prospective students, those who have recently left University of Wales, Newport and the immediate families of students and staff. A Student Support Services booklet and leaflets on special topics are available from the Student Services’ centres, on both campuses. The centres are open 9.30 am - 4.30 pm when a receptionist will make appointments with an appropriate member of staff. 16
  19. 19. The Chaplaincy Service is provided by volunteer chaplains from Newport. It allows an opportunity for students to explore dilemmas of faith, spiritual issues and conflicts between spiritual and temporal matters. The Counselling Service may help with personal, social and academic difficulties. It is person-centred and provided in accordance with the guidelines laid down by the British Association for Counselling and Psychotherapy. There are two counsellors who are externally supervised to ensure high standards of professional practice. The Medical Service is provided by the University Medical Officer and two nurses, one based on each campus. The Medical Officer and his partners hold surgeries on campus by appointments made through the nurses. Students are strongly advised to register with a doctor soon after their arrival. The nurses will advise on this and are able to register students with the Medical Officer. The Welfare Service provides help with practical issues, such as student loans, grants, benefits, legal matters, financial difficulties etc. The two Welfare Officers are available at both campuses to help and advise. Students with disabilities are welcome to discuss with the Disability Co-ordinator specific needs and support arrangements that can be provided. There is assistance with claims for the Disabled Students' Allowances. Dyslexia assessments and educational needs assessments can also be arranged. The Access/Bursary Funds/Hardship Loans were set up by central government to give additional grants and loans to students experiencing financial difficulties. Most UK students are eligible to apply for help and must be studying a minimum 60 credits each year. Applications are means tested and an Access Funds Co-ordinator will explain the procedure. Application forms are available at Student Support Services' centres. A Nursery for staff and students’ children (aged 12 months – 5 years) is situated on the Caerleon campus. There are also Half-Term Holiday Clubs for children aged 4-12 years. Please contact the Childcare Co-ordinator for cost and booking information, advice on childcare provision and funding in general. Student Support Services welcome enquiries, offer a caring, non-judgmental service and observe privacy and confidentiality. What? The Study Zone staff aim to provide confidential help and advice on a range of study skills, including essay writing, dissertations, revision skills, learning styles, reports, presentation skills, 17
  20. 20. referencing, time management and much more. There is also an English Language drop-in service. Where? When? An appointment service is available for detailed, one-to-one advice. Please telephone, email or visit the Study Zones if you feel you need an appointment. For details of English Language support, see the Study Zone website. Is it for me? The Study Zones are open to all students at the University. During an appointment you will normally receive guidance, handouts and recommendations for study skills tailored to your needs, using examples of your own work. For further information contact: E: W: and click on Study Zone Caerleon campus – top floor of the library T: 01633 43 2109 Allt yr yn campus – room E26/24 in the Harrison building T: 01633 43 2357 Minicom – 01633 43 2245 18
  21. 21. Newport School of Art Media and Design Creative Sound and Music Studio Booking Student ID Telephone no: Print Name Year Programme Session Date: Studio Booked Date: Session Time: To Total Hrs: From Purpose of Session Additional Persons Attending Session Required For: Approved by Name (staff only) Signature I have read and Student signature Date accept the terms & conditions set out 19
  22. 22. Studio Terms & Conditions Care must be taken at all times to protect the integrity of the studios: Studio bookings can only be made with Adrian Howgate during normal store times. Studio hours will be allocated to students for each assessed module. And it is student’s responsibility to plan and book studio time for assessed work. Any changes to studio bookings are through negotiation with studio staff only. Any non-use of studio hours bookings are non recoupable. Studio downtime may be available to students. However, only through negotiation with studio staff. No food or drink should be consumed in, or brought into, the studios – liquid & electricity can cause fire & food damages equipment Monitor levels should not be excessive – to protect the speakers and your ears Monitors should be muted upon: Loading & quitting software, Start-up & shutdown of computers, Plugging-in and un- plugging any studio equipment & Changing of microphone’s settings Care must be taken not to cause damage to equipment Care must be taken not to create, and to remove, any health and safety risk present in the studios (e.g. uncovered cables across a walkway) Fire exits and disabled accesses are not to be used for any other purpose No software can be installed or removed from any studio/program bay computer Students must not gain access to studios without official permission. (e.g. booked with Tutor/Tech or permission from CSM staff) Any failure to protect the integrity of the studios may incur a 4-hour reduction in studio credits – (loss of studio time may effect assignments) LATE AND HOLIDAY STUDIO ACCESS Late access will only be granted if a confirmed studio booking is made no later that stores open hours 2:30 – 3:30 (Please read carefully all the standard terms and conditions which relate to studio bookings) This is necessary in order that security can be informed of your late or holiday access. Please note that security are at liberty to ask you to vacate the studios if they are not informed of the booking or for any reason relating to security. The following terms apply in addition to those set out on the standard CSM booking form and all other University regulations: • There will not be any access to technical support • Students who have not completed the initial studio and PA induction will not be permitted access to the studios. Students who have not completed the CR1 and 2 inductions will not be permitted access to the control rooms. • Students should report to the University reception (clock tower) to check booking. A member of the security staff will then escorted you to open the studios. • Studios are not to be left vacated at and for any time whatsoever (minimum of 2 people must be present at all times) • You are responsible to inform security when you wish to vacate the studios and you should wait for a member of the security staff to arrive before you vacate the rooms. Telephones are located in CR1 and CR2. In the event of CR1 & 2 not being open you will find a internal phone in the Rathmell building by the exit to the car park on E floor (Dial 0 and wait until answered) • There will be not be any free standing Equipment of any kind available in the studios. All equipment must be booked out using the normal procedures (Please read carefully all the standard terms and conditions which relate to equipment booking) • You will be responsible for setting up and pulling down all PA Equipment that will be stored in S2 storage area. The Equipment should be returned after your session in a tidy and organised manner. • Please maintain health and safety precautions and maintain all technical equipment care and procedures as communicated in your studio induction (lifting, distribution and position of cables etc order of powering, levels etc) • Inform security immediately if there are any problems of any kind. • The student signing out the studio will be responsible to the terms and conditions and for the PA Equipment which is subject to the terms and conditions set out on the equipment booking form (Please read carefully all the standard terms and conditions which relate to equipment and studio booking) • Please show security staff respect and patience at all times. They may be busy dealing with other university responsibilities. • Failure to adhere to these terms and conditions may result in access being refused in the future 20
  23. 23. Newport School of Art Media and Design Creative Sound and Music Stores Booking Student ID Telephone no: Print Name Year Programme Period of Loan: To Booking Date From Equipment Replacement Serial / Barcode Approved by Name (staff only) Signature I have inspected the equipment and acknowledge it is in good working order I have inspected the equipment and would like to record the following details I have read and Student signature Released by Date accept the terms & conditions set out Returned by Accepted by (Please print name) (Signature) 21
  24. 24. TERMS AND CONDITIONS OF EQUIPMENT LOAN • All equipment is suitably packed where necessary. The student when returning the equipment must use such packing, otherwise the cost of such packing will be charged to the student. • All damage to the equipment shall be reported to the Music Tech Tutor technician within 24 hours and the cost of repairs shall be payable under the conditions specified in paragraph 00 of the Terms and Conditions. • The loan period of the equipment shall commence at the time specified in the Booking Form and shall finish when the equipment is returned to the stores. The equipment must be returned at the time and date specified in the Booking Form, unless in the meantime the student has agreed to an extension. Extension of booking must be notified to the Music Tech Tutor Technician at least 24 hours before the end of the original loan period. • The equipment shall be the responsibility of the student at all times when in the students possession, and in the event of loss of goods or any item thereof from whatsoever cause or reason, shall immediately pay to the university the full costs of replacement, details of which are held by the Music Tech Tutor Technician. • The student, during the continuance of the loan, will not sell or offer for sale, assign, mortgage, pledge, underlet, lend or deal with the equipment or any part thereof in a manner prejudicial to the Universities rights • The student shall keep the equipment safe against fire, loss, damage or risk from whatever cause arising in the full replacement value thereof and will permit the Music Tech Tutor Technician at all reasonable times to have access to the equipment and to inspect the state and conditions thereof. • If the equipment shall be damaged or destroyed, the full costs of replacement or repair shall be received by the University within 28 days who shall, as the case may require, apply such monies either in making good the damage done or in replacing the equipment by other articles of similar description and quality and such substitute articles shall become subject to the provisions of this agreement in the same manner as the articles for which they shall have been substituted. • The student shall in no circumstances remove the equipment from the United Kingdom without obtaining the consent of the University in writing specifying the country to which the equipment is to be removed and in such event the student shall pay all additional insurance in respect of such removal of the equipment and shall indemnify the university against all customs duties, taxes or other pecuniary levies either as a result of removal of the equipment from the United Kingdom or for the return of the equipment, and shall pay to the University, if required, 10% of the value of the equipment supplied by way of a deposit, each sum to be returned to the Student at the termination of the loan by the University after deduction of any monies due by the student to the University under this agreement. • No responsibility shall be accepted by the University for any equipment not belonging to the University and the student will indemnify the University against damage to equipment supplied by the University as a result of malfunction or non-function of any equipment or installations not belonging to the University. • The equipment shall be deemed to be in good condition at the beginning of the loan period unless any damage shall have been noted on the Booking form. • Any waiver or other indulgence granted by the University shall not affect the strict rights of the University under these terms. • Responsibility for shipping, preparation of the relevant Carnet and Customs documents and lodging of any bonds shall be entirely that of the student. • The student shall be responsible for the application and provision of licences for Radio Microphones. • The student shall pay for batteries required for any equipment. • The student shall give such proof of her/his identity as the University shall reasonably require. • The terms of this contract shall include any riders attached hereto. 22