A Template for Module Learning
Outcomes
Centre for Academic Practice and Student Learning, Trinity College
Introduction
Over the last five to six years learning outcomes have become recognised as a useful
academic tool adding clarity and transparency to the teaching and learning processes.
However, the immediate driving force behind the leaning outcomes project is the HEA
requirement that third-level institutions, in furtherance of the implementation of the National
Framework of Qualifications and the Bologna process, should establish a set of learning
outcomes at both programme and module level for every undergraduate and taught
postgraduate programme. A further and perhaps more substantive motivation for the project
is that there are also sound pedagogic reasons for engaging with a learning outcomes
approach to curriculum design and assessment.
The first phase of the project has seen the initial drafting and review of a set of programme
learning outcomes for each undergraduate and taught postgraduate programme. For the next
phase of the project, learning outcomes have to be written for every module of the various
academic programmes. Clearly these module learning outcomes, cumulatively, should
provide an underpinning of the programme learning outcomes.
In addition to providing some basic explanatory notes, this document introduces a suggested
template for the writing, documenting, and reviewing of learning outcomes across an
academic programme and provides some sample module descriptions based on the template.
Programme Outcomes
As set out and discussed in related support documentation for the learning outcomes project,
programme outcomes are broad statements of what a learner is expected to know,
understand, and be able to demonstrate after successful completion of an academic
programme. For example, with regards to the BAI Engineering programme, the following have
been agreed as the programme outcomes.
Graduates must be able to demonstrate:
a) The ability to derive and apply solutions from a knowledge of sciences, engineering
sciences, technology and mathematics;
b) The ability to identify, formulate, analyse and solve engineering problems;
c) The ability to design a system, component or process to meet specified needs, to
design and conduct experiments and to analyse and interpret data;
d) An understanding of the need for high ethical standards in the practice of engineering,
including the responsibilities of the engineering profession towards people and the
environment;
2
Centre for Academic Practice and Student Learning, Trinity College
e) The ability to work effectively as an individual, in teams and in multi-disciplinary
settings together with the capacity to undertake lifelong learning;
f) The ability to communicate effectively with the engineering community and with society
at large.
The first three of these programme outcomes incorporate what would be regarded as the
disciplinary subject matter while the latter three refer to more generic skills. While it would
normally be the case that the subject matter of programme modules would orient towards the
more disciplinary programme outcomes, the more generic outcomes should not be
overlooked at module level.
Learning Outcomes
The above definition of a programme outcome can also be applied to learning outcomes at
the module level, only now the statements will refer to the knowledge, skills and
competencies the learner will be able to demonstrate as a result of successfully completing
the module. There are two critical aspects to drafting module learning outcomes: the
terminology employed and the range of cognitive skills.
Each learning outcome should incorporate a suitable action word that captures a means of
demonstrating the acquisition of knowledge, skill or competency. To assist in drafting learning
outcomes, a list of useful action words is appended. This list has action words categorised in
a hierarchical manner known as Bloom’s taxonomy. The lower levels of this hierarchy depend
on basic cognitive elements (knowledge, comprehension, and application) while the upper
levels depend more on critical thinking qualities (analysis, synthesis, and evaluation). It is
suggested that module learning outcomes should not be overly weighted towards the lower
levels of Bloom’s taxonomy. We should be able to demonstrate that we are indeed
endeavouring to develop students’ higher levels of critical thinking in our academic
programmes.
Learning outcomes are set at what is known as the threshold level. This implies that any
student who successfully completes the module will be deemed to have demonstrated at least
a pass level of competence in the set of learning outcomes. For this reason, it would be the
normal practice to couch each outcome in quite broad and generic terms, and to limit the
number of learning outcomes to a maximum of 6 or 7 per module.
Alignment
Another element tied up with learning outcomes is that of the alignment of the learning
outcomes with the module content, teaching methods, and assessment. The course content
should reflect the learning outcomes while the teaching methods should be chosen to most
suitably realize these intended outcomes. Similarly the assessment should be designed
specifically to judge if and how well the learning outcomes have been achieved by the
students. For example, if one of the outcomes is an ability to write a computer program in a
particular computer language, the course content must include instruction in that language,
and the teaching methods must nurture practice in the use of the language, for example in
3
Centre for Academic Practice and Student Learning, Trinity College
problem-solving tutorials or in computer laboratory sessions. The assessment method must
likewise test for competency in the computer language.
Alignment is clearly most easily addressed when designing a new academic programme,
whereas by and large in this exercise we are retrofitting learning outcomes and alignment to
existing programmes. Nevertheless, the learning outcomes project does present an
opportunity to review these existing programmes in terms of their learning outcomes, and how
well alignment is being achieved.
Inclusive Curriculum
Students enter Trinity from diverse social, cultural and economic backgrounds and we have
an obligation to support this increasingly diverse student population. This can be achieved
through inclusive curriculum. The central principle of Inclusive Curriculum is that multiple
approaches to teaching methodology, teaching materials, and assessment are necessary to
meet the needs of a diverse student body. The Inclusive Curriculum involves disseminating
information and ideas via diverse media, using varied teaching methods to take account of
the diversity of learning styles and learning preferences, and providing students with
alternative assessment modes to demonstrate what they know and how they apply it.
The Template
The accompanying document, titled Module Description Template, sets out a suggested
format for documenting a module description. The opening headings capture some basic
administrative information. Thereafter, each heading incorporates a brief statement of what is
required. The thread running through the template from Learning Outcomes, through Course
Content, Resources, Teaching Methods, to Assessment should be indicative of the alignment.
Two sample module descriptions written in accordance with the template are appended. The
first, a JS computer engineering module entitled Microprocessors Systems, would be broadly
representative of an undergraduate module from the engineering/science type of discipline.
The second, a taught module from the MPhil in Music and Media Technologies, would be
broadly representative of a module from the arts/humanities type of discipline. The module is
also noteworthy in that it incorporates a significant creative element; careful attention has
been given to the associated assessment.
4
Centre for Academic Practice and Student Learning, Trinity College
McBeath Action Verbs for expressing Learning Outcomes (Bloom's Taxonomy)
Critical Thinking
Evaluation
Synthesis
Analysis
Application
Comprehension
Knowledge
arrange
define
describe
duplicate
identify
label
list
match
memorize
name
order
outline
recognize
relate
recall
repeat
reproduce
select
state
Remembering
previously learned
information
classify
convert
defend
describe
discuss
distinguish,
estimate
explain
express
extend
generalized
give example(s),
identify
indicate
infer
locate
paraphrase
predict
recognize, rewrite,
report
restate
review
select
summarize,
translate
Grasping the
meaning of
information
Apply
change
choose
compute
demonstrate
discover
dramatize
employ
illustrate
interpret
manipulate
modify
operate
practice
predict
prepare
produce
relate
schedule
show
sketch
solve
use
write
analyze
appraise
breakdown
calculate
categorize
compare
contrast
criticise
diagram
differentiate
discriminate
distinguish
examine
experiment
identify
illustrate
infer
model
outline
point out
question
relate
select
separate
subdivide
test
Breaking down
objects or ideas into
Applying knowledge
simpler parts and
to actual situations
seeing how the
parts relate and are
organized
arrange
assemble
categorise
collect
combine
comply
compose
construct
create
design
develop
devise
explain
formulate
generate
plan
prepare
propose
rearrange
reconstruct
relate
reorganise
revise
rewrite
set up
summarize
synthesize, tell,
write
Rearranging
component ideas
into a new whole
appraise
argue
assess
attach
choose
compare
conclude
contrast
defend
describe
discriminate
estimate
evaluate
explain
judge
justify
interpret
relate
predict
rate
select
summarize
support
value
Making judgments
based on internal
evidence or
external criteria
5
Centre for Academic Practice and Student Learning, Trinity College
1. MODULE TITLE AND CODE
Microprocessor Systems 1 (3D1)
Lecturer(s)
Dr Mike Brady
Contact Hours
33 hours lectures
11 hours tutorials
14 hours laboratory
ECTS Value
5
Rationale and Aims
Microprocessor Systems 1 is a one-semester course taken by Junior Sophister BAI CCD- and D-Stream students. It covers the Instruction Set Architecture (ISA) of a typical
microprocessor-based computer—the Motorola MC68000, and equips the student with a
knowledge of the architecture, the associated assembly language, input/output
programming techniques, exceptions (including interrupts) and exception-handling
techniques. The module concludes with a simple introduction to the bus and instruction
timing estimation.
The course is intended to enable students to design and develop programs and program
‘architectures’, to test and debug programs and to analyse and modify their execution
behaviour, based on a thorough familiarity with the low-level architecture of a computer.
Concepts such as RISC/CISC architectures, register sets, addressing modes, data
structures, subroutines, [informal] high-level to low-level language translation techniques,
polling, interrupt priorities, asynchronous producer-consumer systems are introduced.
Course Content
Review of Binary and Hexadecimal Arithmetic
The Von Neumann Machine
The Programmer’s Model of the MC68000
Data Representation: integers, characters, signed representations, arrays
Addressing modes: immediate, direct, indirect
Program flow control: unconditional branch and jump
The Condition Code Register
Conditions and conditional branching
High-level language constructs: while, if, for, etc.
6
Centre for Academic Practice and Student Learning, Trinity College
Some complex 68000 instructions
Subroutines: mechanisms and parameter passing
Principles of Input/Output: polling
Exceptions and exception handling
Supervisor & user mode
Interrupts and interrupt handlers
Producer consumer organisation; queues and buffers
Introduction to the System Bus
Instruction Execution
Instruction Timing
Indicative Resources
Text:
Alan Clements, Microprocessor Systems Design: 68000 hardware, software and
interfacing, 3rd ed, PWS Publishers, 1997.
Website: http://www.tcd.ie/Engineering/Courses/BAI/JS_Subjects/3D1/
Learning Outcomes
On successful completion of this module, students will be able to:

analyse, specify, design, write and test assembly language programs of moderate
complexity. [PO(b), (c)]

select an appropriate ‘architecture’ or program design to apply to a particular
situation; e.g. an interrupt-driven I/O handler for a responsive real-time machine.
Following on from this, the student will be able to design and build the necessary
programs. [PO(b), (c)]

calculate the worst-case execution time of programs or parts of programs, and to
design and build, or to modify, software to maximise its run time memory or
execution-time behaviour. [PO(b), (c)]

characterise and predict the effects of the properties of the bus on the overall
performance of a system. [PO(b), (c)]

describe the main characteristics of RISC and CISC architectures. [PO(a), (b)]
Methods of Teaching and Student Learning
The teaching strategy is a mixture of lectures, problem-solving tutorials and hands-on
practicals. The format of lectures is conventional; however, a great deal of informal
interaction is normal, and students can expect to participate in question-and-answer and
problem solving sessions. For the first four weeks or so, the students are taught the
general principles of low-level architecture and programming. Tutorials held during this
time review basic skills such as binary and hexadecimal, algorithm design and challenge
7
Centre for Academic Practice and Student Learning, Trinity College
the students to build programs based on a partial knowledge of the computer’s instruction
set. Practicals, starting in the fourth week, require the students to design, write, evaluate
and debug their programs on special-purpose development systems. More advanced
topics introduced during lectures become the subject of practicals through the rest of the
semester.
To further the aims of the Inclusive Curriculum, each lecture and tutorial is recorded
(overheads and audio) and podcast. The intention is to facilitate self-paced study and to
provide an alternative mode of access for the students to the material covered.
Methods of Assessment
Assessment is by examination and by practical. Practicals attract a mark of up to 20% of
the year end mark, and the examination makes up the remaining 80% or more.
Although marks for practicals make a small contribution to the student’s end-of-year result,
the practicals themselves are highly formative, with students receiving feedback and
advice from the demonstrators, who also mark the student’s work at the end of the
session. Total practical marks amount to not more than 20% of the year-end mark. The
practicals particularly help with the first two learning outcomes, and make a significant
background contribution to the third.
The examination is three hours long, and students are required to answer five questions
from a selection of seven. Most questions will contain a short discursive component and a
related question requiring the student to demonstrate an ability to design and write code.
Some questions might ask the students about bus architecture or the effects of bus
performance, requiring worked examples to be furnished.
Evaluation
CAPSL module survey.
8
Centre for Academic Practice and Student Learning, Trinity College
2. MODULE TITLE AND CODE
Music and Image
LECTURER (S)
Dr. Fionnuala Conway, John Bates, Maura McDonnell
CONTACT HOURS
22 hours lectures/workshops
12 hours tutorials
Self-study and assignments – approximately 70 hours
ECTS VALUE
5
RATIONALE
Music and Image is a one-semester course taken by the MPhil students on the Music and
Media Technologies (MMT) programme. Students can select this module from a list of 9
optional courses. This module is intended for those interested in creating audiovisual
compositions to be shown on DVD, in multimedia performance and interactive installation. It is
helpful, but not mandatory, that students will have completed the Music and Image
Technologies and Music and Image Production modules in the MMT Postgraduate Diploma
as these provide an initial exposure to audiovisual composition techniques and technologies.
This module seeks to encourage the integration of cinematic, video and music aesthetics, and
to enable participants to come to a greater awareness of filmmaking principles (camera,
lighting, sound design, music, effects and keying) through analysis of works from a wide
number of genres and techniques. It looks specifically at the work of early filmmakers and
animators and their use of visual and musical language in Visual Music productions. It moves
on to look at the use of music, sound and visuals in music video and mainstream cinema. The
module concludes with an introduction to the use of music and visuals in theatre, multimedia
performance and interactive installation.
AIMS
The module is intended to enable students to design and create audiovisual compositions
through the use of image and video manipulation software such as Adobe After Effects and
Final Cut Pro. Students are encouraged to review, analyse and learn creative techniques from
artists and works looked at in the course. They are encouraged to modify their approach to
audiovisual composition based on work they have looked at in class. They are also
encouraged to analyse the work of artists who use music and image in multimedia
performance and interactive installation and modify their own approach to audiovisual
9
Centre for Academic Practice and Student Learning, Trinity College
composition to incorporate and include some of these techniques. Based on a familiarity with
work, approaches and techniques covered in the module, students are encouraged to
develop their own approach and style in creating audiovisual compositions.
LEARNING OUTCOMES
On successful completion of the module, students will be able to:
 Describe the main characteristics of an audiovisual approach to composition
 Analyse, describe and identify techniques and technologies used by audiovisual
composers
 Write proposals to develop audiovisual compositions using a conceptual approach and
outlining production details and requirements
 Select appropriate audio and visual programs to create their composition.
 Create a Visual Music composition that requires the music and image elements to be
created together (rather than with one element coming first as in previous modules)
 Design and create their own audiovisual compositions for presentation on DVD, in
performance or in installation
 Create a portfolio DVD to showcase their audiovisual work.
MODULE CONTENT
Visual Music – early experimental filmmakers and animators
Sergei Eisenstein and influence on cinema
Montage in cinema
Sound design – use of sound in cinema
Sound design and soundart
Interactive installation and multimedia characteristics
Multimedia in performance and installation
DVD design and interactive design
INDICATIVE RESOURCES
Texts:
Block, Bruce. 2001. The Visual Story: Seeing the Structure of Film, TV and New Media, Focal
Press.
Dixon, Steve. 2007. Digital Performance: a history of new media in theatre, dance,
performance art and installation. Cambridge, MA: The MIT Press.
Wilson, S. Information Arts: Intersections of Art, Science and Technology. Cambridge, Mass.:
MIT Press, 2002.
10
Centre for Academic Practice and Student Learning, Trinity College
METHODS OF TEACHING AND STUDENT LEARNING
The teaching strategy is a mixture of lectures, workshops on audiovisual composition, critique
classes on assignments, and tutorials in software. The format of lectures is conventional;
however, a great deal of informal interaction is normal, and students can expect to participate
in analysing artist’s work and presenting works that they have found and use as inspiration.
Tutorials in Final Cut Pro and DVD Studio Pro are held in the first 6 weeks. During this time
students review basic skills in use of camera, lighting, video editing and DVD design software.
In Week 6, students present their first composition to the class and describe the process of
creating the work and techniques used. The remaining lectures focus on different approaches
to audiovisual composition and how this can be presented in different spaces such as
installation or performance. There is also a workshop lecture where students discuss ideas for
the next assignment. In week 11, students present their second piece and discuss the
approach, how it is to be presented, and techniques used in the creation.
METHODS OF ASSESSMENT
Assessment of this module is by practical assignment work. Students are required to create 2
audiovisual compositions. These assignments attract a mark of 40% and 60% respectively.
The first assignment focuses specifically on the creation of an original music and image work
where both the visuals and music/sound are created together. The assignment requires that
the student develop both elements from scratch, in combination, allowing one to be influenced
by the other and vice versa. Students are asked to propose the idea in advance of the
composition, outlining their concept, if it is influenced by another approach, and how they
intend to produce it (5%). This exercise is intended as practice for commissions where artists
are expected to propose an idea e.g. to the Arts Council. For this first assignment, marks will
be awarded as follows: Report – 10%; Idea – 12.5%; Production – 12.5%. The second
assignment requires that students produce an audiovisual composition and a portfolio DVD.
In the assignment, the music and image play an equally important role but in this assignment,
students can work in a variety of styles from narrative, non-narrative, visual music,
documentary or an experimental film, performance visuals/video and installation. For this
second assignment, marks will be awarded as follows: piece – 40% [20% idea and 20%
production], portfolio DVD – 10%; Report – 10%. Grades are awarded according to the
attached program grading metric.
EVALUATION
The CAPSL survey is used but feedback is usually also freely given by students.
11
Centre for Academic Practice and Student Learning, Trinity College
MMT Program Grading Metric
All assignments will be assessed on:
- Idea: Concept and originality of idea
- Production: Quality of production and techniques used
- Report: thorough and clear explanation of concept and production
Grading
0-39%
Fail - shows poor grasp of material, little work.
40-49%
Adequate knowledge, but little to suggest any understanding
50-59%
Good grasp of the issues involved. Capable use of material
60-69%
Good understanding. Signs of creative use of material
70 - 79%
Thorough understanding - able to innovate from standard material
80 - 89%
Obvious facility with all issues. Evidence of effort to 'go well beyond' given
material. Creative exploration.
90-100%
Exceptional. Real Originality. Complete facility with all material.
12