I corsi Bachelor in Performance dell’Accademia Musicale Jam Academy sono concepiti ed orientati verso tutti coloro che intendono affrontare gli studi musicali in modo approfondito e con approccio professionalizzante. Nello specifico, l’indirizzo di studio Performance dei corsi Bachelor, è strutturato e studiato per coloro che aspirano ad un lavoro nel mondo della musica come Musicista Turnista, Arrangiatore, Compositore, Docente di musica, etc..
Bachelor of Arts in Performance: Musicista Turnista, Arrangiatore, Compositore, Performer
|Duration: 3 anni|
|Lectures: 400 ore classe|
|Video: 56 ore e-learning|
|Bachelor level 6|
Specifiche del corso
- Indirizzo di studio
Chitarra, Basso, Batteria, Canto, Pianoforte / Tastiere, Fiati
- Responsabile Didattico
Valerio Silvestro e Loredana Lubrano
Part Time (solo alcune materie) o Full Time (interno anno)
- Periodo di svolgimento
Settembre / Giugno (iscrizioni entro 30 giugno)
- Riconoscimento del Titolo
Informati sulla validità dei titoli, clicca qui
Il Bachelor of Arts in Performance è concepito sul modello delle più avanzate scuole e università della musica del mondo. Una formazione globale che comprende Strumento, Armonia, Ear training, Pianoforte complementare, Lettura, Analisi dell’ascolto, Musica d’insieme, Interplay, etc. La metodologia di insegnamento all’interno dei nostri corsi, si basa su un approccio rivoluzionario sul uso del corpo, quale strumento fondamentale nella performance (metodologia applicata MAD – Music Aptitude develpment). Focus del metodo è l’esercizio della pratica dell’atto di “fare musica” che si concretizza nell’attività della live music con le eccellenze del panorama musicale italiano. Per maggiori approfondimenti clicca qui.
Si informa che le iscrizioni ai corsi Bachelor 2018/19 dovranno essere formalizzate entro venerdì 29 giugno. In caso di ritardo oltre tale data, verrà applicato un incremento del 5% del costo totale del corso per la gestione della pratica fuori data limite.
I titoli dei nostri corsi Bachelor of Arts Performance (Alta Formazione in Musica Moderna) vengono rilasciati direttamente da Università ed Enti britannici presenti nel ranking internazionale e di altissimo profilo qualitativo: procedure di Institutional Approval, svolgimento del corso, valutazioni e rilascio delle certificazioni sono regolarmente assoggettati alle procedure governative (UK) di controllo qualità, clicca qui.
Il Consiglio di corso del Master di Musica Applicata all’Immagine del Conservatorio Luigi Boccherini di Lucca ha deliberato all’unanimità di accogliere il Bachelor of Arts Level 6 (QCF), conseguito presso gli istituti accreditati London Performers Education Board (di cui Jam Academy fa parte), tra i titoli stranieri che consentono l’iscrizione al corso.
Il nostro Bachelor, emanato dalla University of Bedfordshire, cosí come da indicazioni del Trattato di Lisbona, si colloca al livello EQF 6 e totalizza 360 Crediti UK (triennale) , equipollenti a 180 Crediti ECTS/CFA.
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Struttura del corso
Il percorso didattico dei corsi Bachelor of Arts in Performance, è suddiviso su 3 anni accademici (settembre – giugno). Ogni anno si sviluppa su 2 fasi di studio al termine delle quali lo studente dovrà sostenere una verifica per ogni insegnamento frequentato (materie performative di classe e non-performative in e-learning). Settimanalmente lo studente è impegnato per circa 12 ore di lezione di classe (il numero di ore varia in relazione ad eventuali tirocini o stage) a cui si aggiungono le ore dedicate allo studio delle materie “non performative” che verranno erogate in e-learning.
Oltre alla normale attività didattica, lo studente ha la possibilità di frequentare alcune ore di Tirocinio/Stage Aziendale.
Durante l’anno accademico Jam Academy organizza masterclass e clinic con docenti e operatori del settore di fama nazionale e internazionale: Katie Leone, Fred Wesley, Cristian Meyer, Alain Caron, Andrea Braido, Mike Stern, Scott Henderson, Claudio Fabi, Mara Maionchi, Marcus Miller, Rita Ciccarelli, Neco Novellas, Danny Bronzini, Rashmi Bhatt, etc.
Tabella degli insegnamenti
Ogni studente dovrà consegnare all’inizio dell’anno il piano di studi indicando, in base all’anno di appartenenza e alla tipologia di iscrizione, gli insegnamenti che si intendono frequentare.
E’ obbligatorio e propedeutico per tutti gli studenti che si iscrivono al Level 6 III anno Bachelor, aver superato ed essere in possesso di un esame in lingua inglese IELTS Academic con punteggio 6.0 (almeno 5.5 su tutte le prove). Sono anche ritenuti validi esami equivalenti ad esempio: PTE Pearson con punteggio minimo 51, TOEFL con punteggio minimo 80.
I° Anno accademico
Unit 33: credits 15 – level 4
Music Performance Studies
Understanding how to structure and monitor practice will enable meaningful progress. Intrinsic to music is musical performance. Through practice all successful musicians develop a variety of performance skills, both as an individual performer and when working with other musicians. This applies equally to working in traditional environments and the electronic domain (for example, studio, DJ etc). In addition, all musicians benefit from expanding their knowledge and understanding of contrasting styles and different instruments.
To improve as a player and performer, practice of technique and accurate playing of a range of music and styles is essential. This unit involves a study of varied repertoire, reading and sightreading techniques and structured practice and preparation skills. It also includes rehearsal, direction and performance for solo and ensemble work. Regardless of style, genre or period, improvement as a player involves not only practice but evaluation of how effective this process is. On completion of this unit learners will understand the underlying process – and ingredients – of successful and sustained improvement in performance.
Unit 19: credits 15 – level 4
Harmony and Composition
Harmony or ‘backing’ vocals often play a significant role as part of a successful or memorable piece of popular music. Research has suggested that people subconsciously latch on to the sound of different voices when hearing a song, as a kind of ‘hook’. Additionally, composers and songwriters will often look to incorporate either innovative or familiar use of chords, chord progressions, modulations and textures in order to ‘catch the ear’ of their audience. Over the years, many composers in a variety of genres have used harmonic ideas and this unit is about recognising and developing these, as well as other contrapuntal conventions, in order for learners to integrate them within their compositions. Learners will not be restricted in their compositional styles and, indeed, should be encouraged to compose pieces in different styles in order to build up a diverse portfolio.
Developing a practical awareness and understanding of accepted harmonic and contrapuntal conventions will achieve this and so it is essential that learners hear and appreciate a wide cross-section of harmonic styles from a variety of musical eras. Additionally, they should become aware of what harmonic devices have been utilised within songs they may have been exposed to. Learners will develop a practical understanding of harmonic conventions by studying chords, chord progressions and the use of modulation. Additionally, they will develop their use and awareness of contrapuntal techniques, such as the use of different figuration and voicing. Once these have been established, learners will have the skills required to create original compositions using these techniques.
Unit 7: credits 15 – level 4
Listening skills are fundamental to the lives of professional musicians in all roles and in all fields of music. Having a good musical ear is a prerequisite of professional musical life and a tool that can be relied on throughout a musical career. This unit develops aural perception skills working with a wide range of musical styles – pop music, classical music and music from around the world.
Through regular exercises in listening, learners will develop the skills needed to transcribe melodies and rhythms. They will learn how to analyse a piece of music using appropriate musical vocabulary, identifying and understanding the musical characteristics, and recognising the different stylistic elements involved. On completion of this unit, learners will be able to transcribe music using conventional staff notation and other systems of notation where appropriate. They will understand and use appropriate musical vocabulary and be able to identify and describe the musical characteristics of different styles of music.
They will be able to analyse and identify the key structural points of different musical forms. Learners will be able to write an analysis of a piece of music with reference to style, structure, instrumentation, texture, dynamics, recording techniques and use of music technology. Learners will gain the skills they need to operate on a day-to-day basis in a musical environment,
offering a knowledgeable and accurate use of vocabulary to engage in musical debate,
transcription and discussion.
Unit 31: credits 15 – level 4
This unit is written with non-readers of music in mind. Although it is possible to have a successful career in music performance without learning how to use music notation, there is no doubt that the ability to read music is a useful tool. Bill Bruford, one of the greatest drummers of all time, when asked recently what he would change about his career answered that he would have learned to sight read better which would have given him access to more work.
The unit is underpinned by theoretical knowledge that can be applied to practical situations. An understanding of music notation helps in all aspects of musical activity – listening, performing, composing and arranging. An ability to read music not only facilitates sight reading but also helps to develop critical listening skills and a deeper understanding and appreciation of the musicmaking process. Notation is a useful design tool in the composition process, particularly in the use of computer software packages such as Sibelius. The producer/sound engineer who can read music will communicate on an equal footing with musicians.
Working with a wide range of musical styles, the unit develops an awareness and understanding of different methods of notation, including conventional staff, drum, graphic and tablature notation. It includes both theoretical and practical work and develops skills in the interpretation and use of notation and the ability to use appropriate musical vocabulary. On completion of this unit, learners will be able to follow different types of scores using various systems of music notation. They will be able to read and write music using conventional staff notation. They will learn how chords work and understand the different ways in which they are transcribed.
Unit 36: credits 15 – level 4
Music technology is a subject that focuses upon the creation of music within the context of modern production environments. Contemporary music production covers a variety of disciplines, such as sequencing, audio recording, sampling, synthesis and associated compositional technique. However, this unit focuses on how these different techniques are integrated to form the basis of modern music production.
The unit is designed to give learners the confidence to produce music using a range of different methods and technologies. Learners will develop the practical skills associated with sequencing and audio recording. They will also develop the skills required to create musical composition using modern technology. On completion of this unit learners will understand how the realisation of musical ideas can be achieved through the application of technology. Emphasis should be placed on transferable skills to give the learners confidence with a wide range of platforms and technology. The unit gives learners opportunities to investigate performance technique and musical scores; this helps understanding of the interaction between technology and performance and emphasises the need for good communication skills. Content can support understanding of related issues such as listening skills and computer architectures.
Unit 30: credits 15 – level 4
Music in Context
The study of any chosen art form requires placing it in context with other art forms. Any style or feature, regardless of discipline, will have been influenced by previous events. These experiences could be from any source: other art forms, previous personalities, cultural influences as well as social and political trends and demands, religious beliefs and so on. Global influences are hugely important and quickly felt with the ever accelerating capabilities of technology. Any single creation will, in effect, have a creative family tree, an inheritance trail which can be traced back through the creator’s experiences and through previous works and how these in turn were influenced. Disciplines migrate to other forms (for example architecture to art to literature to music).
Some events are directly linked (for example how war directly results in works of art, literature, photography, music and film). Other influences have a longer process of evolution (for example the social and cultural origins of pop music to the present-day milieu of genres). Often a completely different development will open new avenues (for example improvements in mechanical recording and reproduction of music and the effect on songwriting). All continue to develop.
Learners will be able to research these pathways and understand how the chosen art form resulted in the way it did, and when it did. Study should be as wide and detailed as required to formulate an informed conclusion. On completion of this unit learners will have much greater knowledge and appreciation of how art forms emerge and develop. An awareness of possible future directions which could influence the way music is produced and marketed will also be cultivated.
Unit 27: credits 15 – level 5
The Music Business in the 21st Century
The music business is one of the most profitable in the entertainment sector and is worth billions of pounds in the UK alone. It has a complex structure encompassing many roles, creative and otherwise. Rapid developments in music technology, coupled with the internet revolution, have had a marked effect on the industry in the 21st century, leading to a period of constant change and evolution.
The unit deals with the principles of copyright and royalties, current distribution mechanisms and different forms of copyright infringement, in particular the implications of cyberspace. It considers the structures and workings of the music business, reviewing and analysing some of the key organisations, roles and professional bodies involved. Business and management skills are examined and there is an exploration of ways in which opportunities can be identified. The unit examines the effects that developments such as globalisation and digitisation have had on the music business and explores ways in which the industry has responded to change. It leads to a working knowledge of the business and management of portfolio careers, exploring the financial, legal and organisational aspects of self-employment in the music business.
On completion of this unit, learners should demonstrate an understanding of the nature of the changing music business and its workings, from self-employment to multi-national companies. They will know how copyright and royalties work and will be able to manage a portfolio career.
II° Anno accademico
Unit 32: credits 15 – level 5
Music Performance Skills
The skills of a performer are developed through practice and the experience of performing. It involves the preparation and presentation of a varied repertoire in group and solo performance. It encompasses techniques of memory, communication, control of tension, improvisation and critical listening, building on growing instrumental or vocal ability. When coupled with the analysis of effective practice, improving performances will develop. Exploring and discovering a varied repertoire is an important element of performers acquiring good musicianship and overall performance skills. Self-evaluation and criticism during rehearsal, practice and performance will build up expertise.
Performers will need to express their ideas and interpretations to others in their group. Being able to take direction during rehearsal with attention to detail is an important skill for all musicians to develop. On completing this unit learners will have improved their rehearsal and practice disciplines within the music performance arena.
Unit 20: credits 15 – level 5
Improvisation in Music
Improvisation is the mainstay of many types of musical activity from jazz, through samba, to dance and MC’ing via composition and world music to classical and baroque cadenzas. Improvisation is often regarded as one of music’s difficult areas and that you need virtuoso-like skills. But, just like many other techniques, the skills required to improvise can be learned and the route to improvisation can be seen as a series of steps.
Confidence comes from a number of sources – understanding the musical elements over which improvisation is to occur, the musical devices available to the performer, increasing ability on one’s own chosen instrument, exposure to a range of styles (including analysis of the work of seminal figures) and a system of practice and rehearsal. Improvisation can become a major tool within a musician’s arsenal to sustain and develop their horizons and employment base. This involves stepped learning, passing through a stage where melodic lines are ‘prepared’ before arriving at the level where improvised performances can be tackled with minimum preparation. This unit provides access to these stages on the way to confident improvisation within a range of performance opportunities.
The use of other musicians during this developmental stage provides students with valuable experience in both giving and receiving musical direction during practice sessions. Improvisation should be encouraged across as broad a range of musical styles and genres as is possible and every opportunity to step outside the norm should be encouraged.
Unit 18: credits 15 – level 5
Harmony and Arranging
For any musician or composer to progress in music, it is vital for them to understand a variety of musical components. It is also important to build up an understanding of different musical styles and forms, whether they are to their own tastes or not. Having an appreciation of a form or style enables learners to work and compose within it, regardless of personal taste. Another significant area to highlight is the instrumentation and voicing of different pieces, as it is important to achieve the right ‘balance’ and texture within a piece of music.
However, the ability to rearrange a piece from one style to something totally different must also be considered. This can be ‘modern’ interpretations of songs or the reverse, for example Paul Anka’s big band versions of songs (Rock Swings, 2005) including Wonderwall (Oasis, 1995) and Smells Like Teen Spirit (Nirvana, 1991). The main aim of this unit is for learners to be able to produce a portfolio of contrasting compositions, demonstrating an appreciation of a variety of styles. It will cover section writing in two, three, four and five parts and also writing specifically for a rhythm section. The whole unit will be underpinned by a knowledge and understanding of ‘jazz’ and ‘popular’ music chord structures and chord progressions. It is important for the learner to hear and appreciate a wide selection of music so that they can compose and arrange in many different contexts.
Unit 48: credits 15 – level 4
Songwriting Techniques and Skills
Writing songs is a specialised area within the wider discipline of composition. It does not automatically follow that all composers can write successful songs. Songwriting is an art form that encompasses all periods and styles, having a history that can be traced back centuries. In more serious classical styles, composers such as Franz Schubert and Hugo Wolfe stand supreme
in this art form. Contemporary pop music is very dependent on songs and songwriting, regardless of style or genre (heavy metal, acoustic, bands or solo artists) and has become an important art form in its own right. Purely instrumental pop compositions are in the minority. Furthermore, the singersongwriter is a popular music phenomenon which does not occur in classical music. The Beatles changed the face of pop music in the 1960s with their fresh approach to the sound and content of their songs – but their resultant influence on music can be attributed as much to Lennon and McCartney writing their own songs as to their performances.
A song is a complete composition in microcosm. The ingredients of a song – flowing, memorable melody lines and lyrics, chord progressions, accompaniment figures – are elements of composition in miniature. On completion of this unit the learners will be able to understand and acquire these skills together with the process of writing songs, working with other musicians in the process.
Unit 38: credits 15 – level 5
New Media Technology
New media technology is an area of increasing relevance to musical practitioners. Traditionally, the music industry has always used a variety of methods to create, promote and distribute product, but artists often had to rely on specialists to accomplish these tasks for them. The emergence of the internet means artists can access distribution networks without the support of record labels and digital content creation has made all aspects of music production and marketing accessible to the individual. The unit is designed to highlight the impact of existing and emerging technologies upon the role of music practitioner, with particular reference to the internet. Learners are given the opportunity to develop basic web design skills that include the creation of audio, graphics and video for online content. Learners also examine opportunities for creative collaboration via internet technology and web-based methods of musical product distribution.
On completion of this unit learners will have acquired a starting point to a wide range of skills that will support their vocational development within the music industry. As well as learning basic web design and graphics and video creation, learners will begin to understand how to individualise these elements to showcase their music and support their artistic profile. Although the unit is only an introduction to new media technology, learners should feel confident in their ability to continue research in this area and understand the relevance of reviewing and updating the relevant skills.
Unit 15: credits 15 – level 5
Creative Arts Research Skills
This unit will allow learners to develop the research skills they need to support both theoretical and practical elements of their chosen genre. This can be applied academically, to enable learners to complete a presentation of independent work or to support and develop practical work, for example in identifying specific methodologies and techniques or providing the historical or social background for a realised product. Learners will be able to select the most appropriate methods and techniques for undertaking detailed research. They will have the opportunity to develop the skills needed to identify suitable source material and to apply the information in an appropriate context. They will acquire the skills to distinguish between primary and secondary sources, to evaluate the validity of such sources, and to extract the necessary information from them. They will then learn to synthesise their research material into an appropriate form for presentation.
Learners will identify the most suitable ways of presenting and disseminating this information in order to support specific performing arts and music activities. This will include techniques for gathering research, referencing, summarising key points and the management of research for a presentation. Learners will also be encouraged to present the researched material in a number of ways, for example written texts, PowerPoint presentations, practical demonstrations, audio and video recordings, or graphic illustrations. On completion of this unit, learners should demonstrate the ability to select appropriate topics for research, source and categorise research data, collate information to support their argument and present the findings using a suitable format.
Unit 42: credits 15 – level 5
Preparation, Process and Production in the Creative Arts
This unit deals with the practical application of skills and techniques required in the preparation and production of creative work. Learners will carry out their role or roles as part of a team working within a clearly defined project that facilitates the development of industry skills. The project brief should be negotiated, and identify a clear market or target audience. The development process is intended to allow learners to refine ideas, develop skills to produce work that culminates in for example a live event, public performance, or a recorded product.
It is essential that learners during planning, process and production, that they apply and work within current legislative frameworks including operating and working safely. It is essential that learners apply industry practice that incorporates post-production reflection, review and evaluation. Learners must show how work is developed for a target audience in response to a defined and negotiated brief culminating in finished work.
Unit 26: credits 15 – level 5
Marketing the Creative Arts
In this increasingly competitive sector – where self-employment and portfolio careers are often the norm – understanding marketing theory and practice can mean the difference between success and failure for audiences at live performances and for sales of recordings.
Musicians can no longer rely on the mechanisms of the traditional arts business to tackle their marketing for them and – as the tools of modern marketing are made more available to the selfpublicising artist/band – an understanding of this important field becomes vital. This unit seeks to instil a blend of existing thought on marketing with the skills necessary to develop promotional campaigns – from identification of audiences through to use of the latest technology to access them.
On completion of this unit, learners will understand the theory and practice of marketing and promotion and be able to carry those skills to the rest of their learning. They will know about audience development, including methods of market research and ways of targeting specific audiences. They will be able to market specific products and events, planning marketing activities which take into account budgetary considerations and selling points. Learners will understand how to use different marketing tools and techniques, including webbased technology.
III° Anno accademico
Unit 302: credits 30 – level 6
In questa unit impareremo a consolidare le tecniche di improvvisazione più avanzate ed applicarle alla propria disciplina.
Particolare enfasi viene posta nel consolidare un’ampia gamma di conoscenze tecniche oltre a raggiungere un livello altamente professionale di timekeeping, produzione e fraseggio.
Gli studenti saranno stimolati affinché applichino le proprie conoscenze in una più ampia possibile varietà di situazioni e stili musicali.
Studieremo la costruzione melodica di diversi assoli, strumentali e vocali. Lo studente dovrà presentare diverse improvvisazioni con supporto audio ma anche cartaceo, sotto forma di trascrizioni
Unit 301: credits 30 – level 6
Agli studenti verrà chiesto di selezionare, preparare ed eseguire (o registrare) almeno sei brani di covers.
Il portfolio finale dei brani dovrà durare almeno 20 minuti e gli studenti dovranno essere incoraggiati a prendere in considerazione la struttura del portfolio nel suo complesso e discuterne con i propri tutors.
Molti musicisti sviluppano competenze tecniche avanzate, ma non riescono a realizzare il proprio potenziale come live performers o in studio di registrazione in quanto tendono a sottovalutare il livello di preparazione necessario al fine di realizzare le proprie aspettative in questo settore.
Produttori e musicisti professionisti devono sviluppare coerenza nelle loro esibizioni/registrazioni, versatilità, un elevato livello di conoscenza del repertorio e la capacità di produrre alte prestazioni malgrado tempi di preparazione limitata.
Gli studenti dovranno porre l’accento sulla capacità tecnica e consapevolezza autocritica, attraverso lo studio di una vasta gamma di repertori.
L’auto analisi sarà stimolata attraverso l’esplorazione di vari tipi di lavoro pratico e la riflessione analitica degli aspetti di prestazione e produzione.
Tesi di laurea: credits 30 – level 6
Questa è la unit più importante di tutto il programma; lo sviluppo finale del proprio progetto. Durante il corso abbiamo sviluppato gli strumenti e l’esperienza necessaria per essere autosufficienti; abbiamo imparato a fare ricerca, project planning, organizzazione, gioco di squadra, conoscenze tecnico strumentali e relative al mercato della musica.
Nostro compito sarà:
- Concepire organizzare e realizzare il vostro progetto artistico o imprenditoriale
- Porre il vostro prodotto sul mercato del lavoro, con il giusto supporto di ipotesi di mercato, metodologia, business plan, progetto di management e quant’altro.
Dovrà inoltre essere presentata evidenza fisica del proprio progetto (Ad es: Cd, metodo didattico, DVD, pedaliera effetti per basso, scuola di musica ecc ecc).
Attività a scelta
- Attività di tirocinio
- Progetti musicali e produzioni extracurriculari
- Stage formativi in azienda
Attività integrative (a pagamento)
- Lezioni individuali
- Moduli a scelta attivati
- Masterclass e clinic
|Duration: 3 anni|
|Lectures: 400 ore classe|
|Video: 56 ore e-learning|
|Bachelor level 6|