University of Sydney Handbooks - 2012 Archive

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UG Core Units

Subject tables

The following list of units of study make up the core requirements (apart from Principal Study) for all the undergraduate programs. Many of these units of study can also be taken as electives.

Unit of study Credit points A: Assumed knowledge P: Prerequisites C: Corequisites N: Prohibition Session

Analysis, History and Culture Studies

Foundation History and Analysis

MCGY2611
Music from the Middle Ages to Baroque
6    A Ability to read musical notation


This is a Foundation unit in the History and Analysis of Music.
Semester 2
MCGY2612
Music in the Classical and Romantic Eras
6    A Ability to read musical notation


This is a Foundation unit in the History and Analysis of Music.
Semester 1
MCGY2613
Music in Modern Times
6    A Ability to read musical notation


This is a Foundation unit in the History and Analysis of Music.
Semester 2
MCGY2614
Musical Worlds of Today
6    A Ability to read musical notation


This is a Foundation unit in the History and Analysis of Music.
Semester 1

Jazz History

JAZZ1021
Jazz History 1
3   

Non Jazz Majors need to seek departmental approval in order to enrol.
Semester 1
JAZZ1022
Jazz History 2
3    P JAZZ1021


Non Jazz Majors need to seek departmental approval in order to enrol.
Semester 2
JAZZ2018
Jazz History 3
3    P JAZZ1022


Non Jazz Majors need to seek departmental approval in order to enrol.
Semester 1
JAZZ2019
Jazz History 4
3    P JAZZ2018


Non Jazz Majors need to seek departmental approval in order to enrol.
Semester 2
JAZZ3618
Jazz Analysis: An Introduction
6    P JAZZ2017 or JAZZ2624
N JAZZ3018, JAZZ3019
Semester 1

Research Seminar

MCGY4601
Research Methods
6      Semester 2

Composition

Compositional Techniques and Analysis

CMPN1611
Instrumentation and Orchestration
6    A It is strongly recommended that participants have a good grasp of modern and 20th century repertoire.
Semester 1
CMPN1612
New Music, New Thinking
6    P CMPN1611
Semester 2
CMPN2613
Comp Techniques: Number and Process
6    P CMPN1612
N CMPN2011
Semester 1
CMPN2614
Comp Techniques: Tonality and Process
6    P CMPN2613 or CMPN2011
N CMPN2012
Semester 2

Composition Through Improvisation

CMPN1000
Composition Through Improvisation 1
3      Semester 1
CMPN1003
Composition Through Improvisation 2
3    P CMPN1000
Semester 2
CMPN2000
Performance for Composers: Percussion 1
3    P CMPN1003
Semester 1
CMPN2001
Performance for Composers: Percussion 2
3    P CMPN2000
Semester 2

Electroacoustic and Computer Music

CMPN1631
Electroacoustic Music 1
6    P MUED1002 or MUSC2653
Semester 1
CMPN1632
Electroacoustic Music 2
6    P CMPN1631
Semester 2
CMPN2633
Computer Music Fundamentals
6    P CMPN1632


Students who don't have the prerequisite, but have prior computer programming experience can apply to the Coordinator for permission to enrol.
Semester 1
CMPN3634
Computer Music Advanced
6    P CMPN2633
Semester 2

Music Education

MUED1004
Non Western Music
3      Semester 1
Semester 2
MUED1006
Significant Methods
3      Semester 1
MUED1008
Fundamentals of Teaching
3    N GENS1000
Semester 1
MUED1009
Psychology of Learning and Instruction
3    N GENS1001
Semester 2
MUED2000
Adolescent Development
3    P MUED3602 and MUED4602
C MUED4611 or MUED4633
N GENS2000
Semester 1
MUED2605
Children, Music and Educational Settings
6    P MUED1006 and MUED1008
Semester 2
MUED3031
Survey of Jazz History
3   

This unit is not available for Jazz Performance students unless they are enrolled in BMus (Music Education).
Semester 1
MUED3602
Teaching Music: Junior Secondary School
12    P MUED2605
Semester 2
MUED3603
Composition in Music Education
3    P MUED1002 or MUED4002
Semester 1
MUED3604
Ensemble Pedagogy
6   

Note: Department permission required for enrolment by students not enrolled in BMus (Music Ed)
Semester 2
MUED4002
Technology in Music Education
3    N MUED1002
Semester 2
MUED4006
Popular Music Studies
3      Semester 1
MUED4602
Senior Secondary Music Education
6    P MUED3602
Semester 1
MUED4603
Cultural Diversity in Music Education
6    A It is strongly recommended that students have completed MUED2605 Children, Music & Educational Settings, and MUED3602 Teaching Music in the Junior Secondary School
Semester 1
MUED4632
Professional Issues in Music Education
12    P MUED3602 and MUED4602
C MUED4633
Semester 2
MUED4633
Professional Experience 3
12    P MUED3602 and MUED4602
C MUED4632
Semester 1
Semester 2

Music Skills

Aural Perception

Aural Perception is taken as a sequence of either four or five semester units. On entry to the BMus, DipMus, BMusStudies and combined degree awards courses, students will – on the basis of a written test – be assigned either to AP1 or to AP1A and AP1B. Both options cover the same material and have the same exit standard, but while AP1 is a one semester unit, AP1A and AP1B extend over one year (two semesters) to enable students with limited experience or weakness to progress at a slower pace. Regardless of the results of the written test, students may request enrolment in AP1A and AP1B. Students who successfully complete AP1 in first semester progress to AP2 in second semester. Students who successfully complete AP1B at the end of second semester progress to AP2 in first semester of the following year. The AP units aim to foster musical understanding by developing the aural perception skills which are essential for any professional musician: The ability to recognise, memorise and notate musical patterns heard (dictation and analysis work); and the ability to imagine in one's 'inner ear', and reproduce vocally, musical patterns from notation (Solfege work). Students are encouraged to apply the ideas and procedures studied in class to their own musical pursuits. Within the Musicology unit, AP is integrated as closely as possible with the Harmony and Music History units. For further information contact the Aural Perception Co-ordinator, Christopher Coady (Musicology).
MCGY1000
Aural Perception 1
3    A Ability to read music notation including treble and bass clefs. Knowledge of all tonal key signatures and standard time signatures.
Semester 1
MCGY1001
Aural Perception 1A
3    A Ability to read music notation including treble and bass clefs. Knowledge of all tonal key signatures and standard time signatures.
Semester 1
MCGY1002
Aural Perception 1B
3    P MCGY1001
Semester 2
MCGY1003
Aural Perception 2
3    P MCGY1000 or MCGY1002
Semester 1
Semester 2
MCGY2004
Aural Perception 3
3    P MCGY1003
Semester 1
Semester 2
MCGY2005
Aural Perception 4
3    P MCGY2004
Semester 1
Semester 2

Harmony and Analysis

MCGY1008
Harmony and Analysis 1
3      Semester 1
MCGY1009
Harmony and Analysis 2
3    P MCGY1008
Semester 2
MCGY2010
Harmony and Analysis 3
3    P MCGY1009
Semester 1
MCGY2011
Harmony and Analysis 4
3    P MCGY2010
Semester 2

Jazz Music Skills

JAZZ1621
Jazz Music Skills 1
6    C JAZZ1601 or JAZZ1631
Semester 1
JAZZ1622
Jazz Music Skills 2
6    P JAZZ1621
C JAZZ1632
Semester 2
JAZZ2623
Jazz Music Skills 3
6    P JAZZ1622
C JAZZ2603 or JAZZ2633
Semester 1
JAZZ2624
Jazz Music Skills 4
6    P JAZZ2623
C JAZZ2604 or JAZZ2634
Semester 2

Music Technology

MUED1002
Music Technology
3    A Basic computer skills.
Semester 1
Semester 2

Sound Recording

CMPN2006
Sound Recording Fundamentals
3    P MUED1002
Semester 2

Performance including Chamber Music and Ensembles

Chamber Music

All students are required to sign up for chamber music groups after they enrol through the Chamber Music sign-up site at http://webapps.ucc.usyd.edu.au/conservatorium/index.php. Students will receive assistance and approval from unit Chamber Music Coordinators. Students must complete a minimum of four compulsory semesters of chamber music, but may complete up to eight semesters in chamber music (with unit permission). Piano students take the alternative Accompaniment units in their first two years. Students from the Vocal Unit may enrol in Choral Ensemble in lieu of Chamber Music for a maximum of two semesters. Each student also completes one semester of Composer Performer Workshop in Chamber Music 4 either as an individual or as a group. This counts as one of the compulsory four semesters of chamber music required of all Bachelor of Music and Diploma students. Chamber Music in this context is defined as a group of 3-10 musicians, performing without a conductor. In rare circumstances large works of chamber music may be conducted by a tutor or conductor nominated by the Chair of Conducting. Combinations outside these guidelines will only be acceptable under certain conditions, as prescribed by the Accompaniment and Chamber Music Unit. In accordance with this definition, participation in other larger ensembles within the Conservatorium will not be regarded as an acceptable alternative to Chamber Music. Students are assigned a Principal Tutor who will advise of appropriate works for each level and coach the ensemble through the semester. Each group is required to attend six 1-hour tutorials per semester. It is expected that students prepare and rehearse to professional standards of performance.
CHMB1301
Chamber Music 1
3      Semester 1
Semester 2
CHMB1302
Chamber Music 2
3    P CHMB1301
Semester 1
Semester 2
CHMB2303
Chamber Music 3
3    P ENSE1007 or CHMB1302
Semester 1
Semester 2
CHMB2304
Chamber Music 4 (CPW)
3    P ENSE2002 or CHMB2303
Semester 1
Semester 2

Composer Performer Workshop

CMPN3000
Composer Performer Workshop 1
3      Semester 1
Semester 2
CMPN3001
Composer Performer Workshop 2
3    P CMPN3000
Semester 1
Semester 2
CMPN4000
Composer Performer Workshop 3
3    P CMPN3001
Semester 1
Semester 2
CMPN4001
Composer Performer Workshop 4
3    P CMPN4000
Semester 1
Semester 2

Continuo

EMUS1671
Continuo 1
3    A Standard 17th - and 18th century repertoire and harmony.
Semester 1
Semester 2
EMUS1672
Continuo 2
3    P EMUS1671


It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 2.
Semester 1
Semester 2
EMUS2673
Continuo 3
3    P EMUS1672


It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 5.
Semester 1
Semester 2
EMUS2674
Continuo 4
3    P EMUS2673


It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 6.
Semester 1
Semester 2

Jazz Ensemble

JAZZ1611
Jazz Ensemble 1
6    C JAZZ1601


Jazz students must attend the Large Ensemble auditions for placement in one of the large ensembles; Non-jazz students can apply to the Chair of Jazz Unit to audition for entry to either the Large or Small Jazz Ensemble 1-8 electives.
Semester 1
Semester 2
JAZZ1612
Jazz Ensemble 2
6    P JAZZ1611
C JAZZ1602
Semester 1
Semester 2
JAZZ2613
Jazz Ensemble 3
6    P JAZZ1612
C JAZZ2603
Semester 1
Semester 2
JAZZ2614
Jazz Ensemble 4
6    P JAZZ2613
C JAZZ2604
Semester 1
Semester 2
JAZZ3615
Jazz Ensemble 5
6    P JAZZ2614
C JAZZ3605 or JAZZ3205
Semester 1
Semester 2
JAZZ3616
Jazz Ensemble 6
6    P JAZZ3615
C JAZZ3606 or JAZZ3206
Semester 1
Semester 2
JAZZ4617
Jazz Ensemble 7
6    P JAZZ3616
C JAZZ4207
Semester 1
Semester 2
JAZZ4618
Jazz Ensemble 8
6    P JAZZ4617
C JAZZ4208
Semester 1
Semester 2

Jazz Improvisation

JAZZ1006
Jazz Improvisation 1
3    C JAZZ1601
Semester 1
Semester 2
JAZZ1007
Jazz Improvisation 2
3    P JAZZ1006
C JAZZ1602
Semester 1
Semester 2
JAZZ2006
Jazz Improvisation 3
3    P JAZZ1007
C JAZZ2603
Semester 1
JAZZ2007
Jazz Improvisation 4
3    P JAZZ2006
C JAZZ2604
Semester 1
Semester 2

Opera Ensemble

VSAO1047
Opera Ensemble 1
3      Semester 1
Semester 2
VSAO1048
Opera Ensemble 2
3    P VSAO1047
Semester 1
Semester 2
VSAO2047
Opera Ensemble 3
3    P VSAO1048
Semester 1
Semester 2
VSAO2048
Opera Ensemble 4
3    P VSAO2047
Semester 1
Semester 2
VSAO3047
Opera Ensemble 5
3    P VSAO2048
Semester 1
Semester 2
VSAO3048
Opera Ensemble 6
3    P VSAO3047
Semester 1
Semester 2

Opera – Movement & Production

VSAO1631
Movement and Production 1
6      Semester 1
Semester 2
VSAO1632
Movement and Production 2
6    P VSAO1631
Semester 1
Semester 2
VSAO2633
Movement and Production 3
6    P VSAO1632
Semester 1
Semester 2
VSAO2634
Movement and Production 4
6    P VSAO2633
Semester 1
Semester 2
VSAO3635
Movement and Production 5
6    P VSAO2634
Semester 1
Semester 2
VSAO3636
Movement and Production 6
6    P VSAO3635
Semester 1
Semester 2

Opera – Repertoire

VSAO1016
Opera Repertoire 1
3      Semester 1
Semester 2
VSAO2014
Opera Repertoire 2
3    P VSAO1016
Semester 1
Semester 2
VSAO2015
Opera Repertoire 3
3    P VSAO2014
Semester 1
Semester 2
VSAO3012
Opera Repertoire 4
3    P VSAO2015
Semester 1
Semester 2
VSAO3313
Opera Repertoire 5
3    P VSAO3012
Semester 1
Semester 2
VSAO3314
Opera Repertoire 6
3    P VSAO3313
Semester 1
Semester 2

Opera and Vocal Diction

VSAO1008
Italian Diction for Singers 1
3   
Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
VSAO1009
German Diction for Singers 1
3   
Note: Department permission required for enrolmentin the following sessions:Semester 1,

Semester 1
Semester 2
VSAO2028
French and Italian Diction for Singers 2
3    P VSAO1009 and VSAO1008

Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
VSAO2029
German Diction for Singers 2
3    P VSAO1008 and VSAO1009

Note: Department permission required for enrolmentin the following sessions:Semester 1,

Semester 1
Semester 2
VSAO3645
Diction for Performance 1
3    P VSAO2028 and VSAO2029
Semester 1
Semester 2
VSAO3646
Diction for Performance 2
3    P VSAO3645
Semester 1
Semester 2
VSAO4647
Diction for Performance 3
3    P VSAO3646
Semester 1
Semester 2
VSAO4648
Diction for Performance 4
3    P VSAO4647
Semester 1
Semester 2
VSAO1621
Opera Diction 1
6      Semester 1
Semester 2
VSAO1622
Opera Diction 2
6    P VSAO1621
Semester 1
Semester 2
VSAO2623
Opera Diction 3
6    P VSAO1622
Semester 1
Semester 2
VSAO2624
Opera Diction 4
6    P VSAO2623
Semester 1
Semester 2
VSAO3625
Opera Diction 5
6    P VSAO2624
Semester 1
Semester 2
VSAO3626
Opera Diction 6
6    P VSAO3625
Semester 1
Semester 2

Orchestral Studies

The purpose of Orchestral Studies is to develop the entire range of skills which musicians must possess to prepare them to be a member of a professional orchestral ensemble. All students enrolled in Orchestral Studies must participate in two performance projects per semester. This is supported by the orchestral development program: students will receive weekly training/instruction in all aspects of orchestral playing. This includes participating in weekly repertoire sessions in the Symphony Orchestra or, in other training ensembles and groups such as the Chamber Orchestra, Wind Symphony, Early Music Ensemble, Modern Music Ensemble, Saxophone Orchestra and Brass Ensemble. Students are assigned to ensembles by audition and through unit recommendation. The objectives of Orchestral Studies are to develop: A thorough knowledge of orchestral performing styles and practices; ensemble intonation – the ability to play precisely and rhythmically and in tune with other members of an ensemble; the ability to concentrate and play with commitment; teamwork; the ability to work with a conductor and interpret his gestures. Assessment is based on all aspects of participation in the orchestral ensemble (assessed by the ensemble director/coordinator and other involved faculty), in the weekly orchestral development classes. Assessment criteria are: level of preparation, actual performance in the ensemble, commitment, concentration, ability and teamwork. For administrative arrangements contact the Ensembles and Orchestral Coordinators.
ENSE1618
Orchestral Studies 1
6    C Principal Study 1 in an appropriate orchestral instrument.
Semester 1
Semester 2
ENSE1619
Orchestral Studies 2
6    P ENSE1618
C Principal Study 2 in an appropriate orchestral instrument.
Semester 1
Semester 2
ENSE2005
Orchestral Studies 3
6    P ENSE1619
C Principal Study 3 in an appropriate orchestral instrument
Semester 1
Semester 2
ENSE2016
Orchestral Studies 4
6    P ENSE2005
C Principal Study 4 in an appropriate orchestral instrument
Semester 1
Semester 2
ENSE3017
Orchestral Studies 5
6    P ENSE2016
C Principal Study 5 in an appropriate orchestral instrument.
Semester 1
Semester 2
ENSE3018
Orchestral Studies 6
6    P ENSE3017
C Principal Study 6 in an appropriate orchestral instrument
Semester 1
Semester 2
ENSE4021
Orchestral Studies 7
6    P ENSE3018
C Principal Study 7 or PERF4610 in an appropriate orchestral instrument
Semester 1
Semester 2
ENSE4022
Orchestral Studies 8
6    P ENSE4021
C Principal Study 8 or PERF4002 in an appropriate orchestral instrument
Semester 1
Semester 2

Organ Resources

ORGN1008
Organ Resources 1
3   
Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
ORGN1009
Organ Resources 2
3    P ORGN1008

Note: Department permission required for enrolmentin the following sessions:Semester 1,

Semester 1
Semester 2
ORGN2008
Organ Resources 3
3    P ORGN1009 Organ Resources 2

Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
ORGN2009
Organ Resources 4
3    P ORGN2008

Note: Department permission required for enrolmentin the following sessions:Semester 1,

Semester 1
Semester 2
ORGN3008
Organ Resources 5
3    P ORGN2009

Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
ORGN3003
Organ Resources 6
3    P ORGN3008

Note: Department permission required for enrolmentin the following sessions:Semester 1,

Semester 1
Semester 2
ORGN4009
Organ Resources 7
3    P ORGN3003

Note: Department permission required for enrolmentin the following sessions:Semester 2,

Semester 1
Semester 2
ORGN4010
Organ Resources 8
3    P ORGN4009
Semester 1
Semester 2

Vocal Performance Class

VSAO1017
Vocal Performance Class 1
3   

Students enrolled in Principal Study (Extended) units may not concurrently enrol in unit specific performance classes.
Semester 1
Semester 2
VSAO1018
Vocal Performance Class 2
3    P VSAO1017


Students enrolled in Principal Study (Extended) units may not concurrently enrol in unit specific performance classes.
Semester 1
Semester 2

Subject details

The following is ordered alphabetically by area, and contains the non-principal study core units of study for all undergraduate degrees and diplomas. Many of these core units of study can also be taken as electives.

Analysis, History and Culture Studies

Foundation History and Analysis

MCGY2611 Music from the Middle Ages to Baroque

Credit points: 6 Teacher/Coordinator: Dr Alan Maddox Session: Semester 2 Classes: One 2hr lecture/1hr tutorial/week Assumed knowledge: Ability to read musical notation Assessment: Tutorial assignments (30%), essay (30%), exam (40%)
Note: This is a Foundation unit in the History and Analysis of Music.
This unit explores major topics in the history of Western art music from the 9th century through to c. 1750 in a broad historical context. Beginning with Gregorian chant, we investigate a wide range of genres, styles, developments in musical instruments, and innovations of the Medieval, Renaissance and Baroque eras, including the development of music printing and the emergence of opera. Among musical works for analysis and discussion are examples by Hildegard of Bingen, Machaut, Dufay, Josquin, Palestrina, Monteverdi, Frescobaldi, Lully, Purcell, Vivaldi, Handel and J.S. Bach.
Textbooks
J. P. Burkholder and C. V. Palisca. Norton Anthology of Western Music, vol. 1, 6th ed. (2010)
MCGY2612 Music in the Classical and Romantic Eras

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 1 Classes: One 2hr lecture and 1hr tut/week Assumed knowledge: Ability to read musical notation Assessment: Essay (30%); Tutorial assignments and participation (20%); Listening test (20%); 2 hr exam (30%)
Note: This is a Foundation unit in the History and Analysis of Music.
This unit will survey the main lines of musical development between 1750 and 1890, with primary focus on the composition of music, and how this relates to the social and aesthetic currents of the time. The overview given in the lecture series will be reinforced by detailed focus on individual works in the tutorials from both historical and analytical perspectives. Topics will include the emergence and codification of classical form and syntax; style and genre in the works of the first Viennese School; Beethoven's 'heroic' and 'late' styles; national opera traditions; symphonic poem and music drama; nationalism and exoticism; and the conflict between progress and tradition.
Textbooks
J. P. Burkholder, D. J. Grout, and C. V. Palisca: A History of Western Music. 8th ed. (2010).
MCGY2613 Music in Modern Times

Credit points: 6 Teacher/Coordinator: Rachel Campbell Session: Semester 2 Classes: 2hr lecture and 1hr tut/week Assumed knowledge: Ability to read musical notation Assessment: 1500 word essay (40%), mid-semester test (20%), 2.5 hr exam (40%)
Note: This is a Foundation unit in the History and Analysis of Music.
Traces the essential developments in Western art music from the very end of the 19th century to the start of the 21st, and relates them to broad socio-historical and artistic changes. The overview given in the lectures is reinforced by the analysis of key works in tutorials. Areas covered include Late Romanticism, Impressionism, Expressionism, Free Atonality, Rhythmic Innovation, Neo-classicism. Serial Music, Political Music, American Experimentalism, Electro-Acoustic Music, Chance composition, Textural Composition, Minimalism, influences from Popular Music, Collage and Polystylism, East-West Encounters, Neo-Romanticism, Post Modernism and Spectralism. Works analysed include compositions by Andriessen, Bartok, Cage, Debussy, Ligeti, Messiaen, Part, Reich, Schoenberg, Strauss, Stravinsky, Stockhausen and Webern.
Textbooks
Griffiths P, Modern music and after, Oxford : Oxford University Press, 1995
MCGY2614 Musical Worlds of Today

Credit points: 6 Teacher/Coordinator: Rachel Campbell Session: Semester 1 Classes: 2hr lecture and 1hr tut/week Assumed knowledge: Ability to read musical notation Assessment: 1500 word essay (30%), 2 tutorial reports (2x15%), tutorial participation (20%), Listening test (20%)
Note: This is a Foundation unit in the History and Analysis of Music.
Embracing popular music and examples of traditional and contemporary music in Australia and Asia, this unit offers an introduction not only to the genres themselves, but to the themes prevalent in the work of contemporary music scholars. These may include gender and race, ownership and appropriation, reception and transmission, technology and globalisation, music as social behaviour, and music and place. Such themes are considered across the three topic modules: Popular Music (including contemporary Aboriginal music); Traditional Music (Australia, Japan, Indonesia) and Australian Music (place and identity, from colonialism to the present day).
Textbooks
Weekly readings from a range of disciplines, available on eReserve

Jazz History

JAZZ1021 Jazz History 1

Credit points: 3 Teacher/Coordinator: Kevin Hunt Session: Semester 1 Classes: 2hr lecture per week Assessment: 3 bibliographies (10%), 4 lead sheets or essay (25%), 1 group lead sheet (15%), listening repertoire test (50%)
Note: Non Jazz Majors need to seek departmental approval in order to enrol.
This unit focuses on a study of the roots of jazz until the emergence of the swing period.The classes will be structured around the use of sound recordings and by practical application. Students will be expected to recognise the pathfinders of jazz, their music, the socio-economic factors and to be able to write about and discuss these various elements. Aural examinations will be of the 'Blindfold Test' variety and written assignments will take various forms such as bibliographies and lead sheets aided by transcriptions. Research, writing and documentation techniques will be learned. Students will be expected to listen, in their own time, to many recordings and to attend performances of jazz. A recommended listening and reading list will be provided.
JAZZ1022 Jazz History 2

Credit points: 3 Teacher/Coordinator: Kevin Hunt Session: Semester 2 Classes: 2hr lecture per week Prerequisites: JAZZ1021 Assessment: 3 bibliographies (10%), 4 lead sheets or essay (25%), 1 group lead sheet (15%), listening repertoire test (50%)
Note: Non Jazz Majors need to seek departmental approval in order to enrol.
This unit will study the emergence of the swing era to the beginning of Bebop. The classes will be structured around the use of sound recordings and by practical application. Students will be expected to recognise the pathfinders of jazz, their music, the socio-economic factors and to be able to write about and discuss these various elements. Aural examinations will be of the 'Blindfold Test' variety and written assignments will take various forms such as bibliographies and lead sheets aided by transcriptions. Research, writing and documentation techniques will be learned. Students will be expected to listen, in their own time, to many recordings and to attend performances of jazz. A recommended listening and reading list will be provided.
JAZZ2018 Jazz History 3

Credit points: 3 Teacher/Coordinator: William Motzing Session: Semester 1 Classes: 2hr lec/wk Prerequisites: JAZZ1022 Assessment: 3000w written assignment (30%), 1 hour quiz (10%), 2hr aural exam (60%)
Note: Non Jazz Majors need to seek departmental approval in order to enrol.
This unit is a study of the careers of jazz musicians and their music from the emergence of Bebop circa 1940 until approximately 1959, including cool, west coast, hard bop, with emphasis on Miles Davis' bands.
JAZZ2019 Jazz History 4

Credit points: 3 Teacher/Coordinator: William Motzing Session: Semester 2 Classes: 2hr lec/wk Prerequisites: JAZZ2018 Assessment: 3000w written assignment (30%), 1 hour quiz (10%), 2hr aural exam (60%)
Note: Non Jazz Majors need to seek departmental approval in order to enrol.
The unit will focus on a study of jazz development from 1960 until the present including third stream music, free jazz, world music influence, the transition to jazz-rock and fusion, Euro-jazz and Australian jazz, with emphasis on Miles Davis' bands.
JAZZ3618 Jazz Analysis: An Introduction

Credit points: 6 Teacher/Coordinator: Phillip Slater Session: Semester 1 Classes: One 2 hr tut/week Prerequisites: JAZZ2017 or JAZZ2624 Prohibitions: JAZZ3018, JAZZ3019 Assessment: Essay (50%), Seminar Presentation (50%)
The process of formal analysis is an essential and integral part of learning the art of jazz improvisation. The first aim of this unit is to enable the student to identify the form, content, language and style used in jazz soloing by examining: note choices and their relationship to the chords, motif development, elements of jazz language, macro and micro elements of solo structure. The second aim of this unit is to study and/or identify analysis concepts such as aesthetic, modernism/post-modernism, discourse, ideology, and objectivity/subjectivity, so that they may develop an understanding of the broader context which surrounds a given work of art and its relationship to jazz improvisation, performance and composition.

Research Seminar

MCGY4601 Research Methods

Credit points: 6 Teacher/Coordinator: Dr Helen Mitchell Session: Semester 2 Classes: 2 hour seminar/week Assessment: Assignments include poster presentation, literature review, seminar presentation, written project proposal (including ethics documentation if required) (100%)
This seminar is designed to prepare students for undertaking their own research projects in music in the Honours Program. It will introduce and develop students' awareness of recent musical scholarship and research methodologies and equip students with skills to design and conduct research across a wide variety of musical topics. Students will develop strategies for locating and reviewing information efficiently and effectively and begin exploration of their chosen research topic. The seminars culminate with a series of student presentations, in which students present their research proposals to students and staff for discussion.

Composition

Compositional Techniques and Analysis

CMPN1611 Instrumentation and Orchestration

Credit points: 6 Teacher/Coordinator: Dr Damien Ricketson Session: Semester 1 Classes: 2 hour seminar/wk Assumed knowledge: It is strongly recommended that participants have a good grasp of modern and 20th century repertoire. Assessment: Folio of short orchestration exercises (30%), Large ensemble arrangement (30%), analytical essay (40%)
Instrumentation and Orchestration will enhance students' knowledge of the key instruments of the modern orchestra. The study of instrumentation will develop in-depth understandings of the technical limitations and creative potential of the main instrumental families. The study of orchestration will examine instrumental combinations with reference to the use of colour to foreground and background musical lines. Additional content will include some study of acoustics and the perception of timbre, arranging and transcribing as well as notational standards and conventions. Works examined in class will span the entire 20th century. Students will be expected to undertake weekly readings and/or listenings and conduct independent research.
CMPN1612 New Music, New Thinking

Credit points: 6 Teacher/Coordinator: Dr Damien Ricketson Session: Semester 2 Classes: 2 hour seminar/wk Prerequisites: CMPN1611 Assessment: Two assignments (2x50%) comprising an analytical essay and a composition exercise or performance project.
New Music, New Thinking is designed to challenge the way in which students' understand the music of our time. Through in-depth analyses of music of the past 100 years, students will be exposed to a variety of compositional techniques, concepts and aesthetics. Areas of enquiry may include noise, stasis, pastiche, the open form, unconventional instruments and microtonality. The content and assessment of this subject will enable students to further develop critical thinking and judgments with regards to the composition of new classical music and relate this knowledge to other contemporary cultural practices. Students will be expected to undertake weekly readings and listenings, participate in discussion and conduct independent research.
CMPN2613 Comp Techniques: Number and Process

Credit points: 6 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 1 Classes: 2 hour seminar/week Prerequisites: CMPN1612 Prohibitions: CMPN2011 Assessment: Two analytical essays of set works, combined with short compositional tasks; 3,000 words each (2x50%)
This unit looks at classic techniques and processes in composition which emerged during the middle to the later part of the twentieth century. The focus is on key works of this period by composers such as Stockhausen, Xenakis and Ligeti and others. The material covered will enable the student to strengthen their own repertoire of compositional technique and allow them to understand their own work in a clear historical context.
CMPN2614 Comp Techniques: Tonality and Process

Credit points: 6 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 2 Classes: 2 hour seminar/week Prerequisites: CMPN2613 or CMPN2011 Prohibitions: CMPN2012 Assessment: Two analytical essays of set work combined with short compositional tasks, 3,000 words each (2x50%)
This unit looks at techniques and processes in tonal and minimalist composition which emerged during the later part of the twentieth century. The focus is on key works of this period by composers such as Andriessen, Reich, Adams and others. The material covered will enable the student to strengthen their own repertoire of compositional technique and allow them to understand their work in a clear historical context.

Composition Through Improvisation

CMPN1000 Composition Through Improvisation 1

Credit points: 3 Teacher/Coordinator: Judy Bailey Session: Semester 1 Classes: 1hr workshop/wk Assessment: Weekly assignments (70%), final recorded composition (30%)
This unit aims, through performance, to help students develop vital aural and improvisational skills which will significantly enhance their compositional process.
CMPN1003 Composition Through Improvisation 2

Credit points: 3 Teacher/Coordinator: Judy Bailey Session: Semester 2 Classes: 1hr workshop/wk Prerequisites: CMPN1000 Assessment: Weekly assignments (70%), final recorded composition (30%).
This unit continues to develop through performance and investigation into experimental modes of presentation, to help students develop vital aural and improvisational skills which will significantly enhance their compositional process.
CMPN2000 Performance for Composers: Percussion 1

Credit points: 3 Teacher/Coordinator: Daryl Pratt Session: Semester 1 Classes: 1hr workshop/wk Prerequisites: CMPN1003 Assessment: Weekly assignments/classroom participation (20%), Aural division etude (20%), technical exams (2 x 15%), ensemble composition (30%)
This unit of study is designed to enable composers to gain insights into composing for percussion instruments. Knowledge about percussion composition will be facilitated by a 'hands on' approach incorporating basic stick techniques, rudiments, pulse and subdivision and ensemble performance utilizing improvisation and indeterminate notation systems.
CMPN2001 Performance for Composers: Percussion 2

Credit points: 3 Teacher/Coordinator: Daryl Pratt Session: Semester 2 Classes: 1hr workshop/wk Prerequisites: CMPN2000 Assessment: Weekly assignments/classroom participation (40%), Aural division etude (20%), composition and performance of a piece for percussion ensemble (40%)
This unit of study enables composers to develop an understanding of percussion composition through the development of basic percussion performance techniques, the creation of percussion ensemble compositions, performing complex rhythms and the experience of ensemble performance.

Electroacoustic and Computer Music

CMPN1631 Electroacoustic Music 1

Credit points: 6 Teacher/Coordinator: Dr Anthony Hood Session: Semester 1 Classes: One 2 hr lab/studio class/wk Prerequisites: MUED1002 or MUSC2653 Assessment: Sound examples demonstrating electroacoustic techniques (40%), Electroacoustic composition (60%)
This unit will explore current techniques in electroacoustic composition through the completion of small tasks in signal processing and the composing of an electroacoustic sound work. Students will discuss recent examples of the electroacoustic repertoire to gain an understanding of current practices, and will gain an insight into the recording process leading to the making of their piece.
CMPN1632 Electroacoustic Music 2

Credit points: 6 Teacher/Coordinator: Dr Anthony Hood Session: Semester 2 Classes: One 2 hr lab/studio class/wk Prerequisites: CMPN1631 Assessment: Composition for solo instrument and 5.1 sound (50%), Multichannel electroacoustic work (50%).
Electronic music composers have been "diffusing" stereo works in surround spaces for many years. Until recently, there has been no standard to which composers could adhere when mixing their works to multichannel tape. Although it has some limitations for the electroacoustic composer, sound encoded for 5.1 on DVD now offers the composer a medium through which to share surround sound electroacoustic works. This unit of study explores composing for a surround space, and investigates writing and electroacoustic work that also includes a live instrumental/vocal performer.
CMPN2633 Computer Music Fundamentals

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: 2 hr lect/wk Prerequisites: CMPN1632 Assessment: 2 programming assignments (2x25%), final project (50%)
Note: Students who don't have the prerequisite, but have prior computer programming experience can apply to the Coordinator for permission to enrol.
This unit will focus on interactive and algorithmic composition based on formal processes to create music with computers. This unit investigates an interactive graphical programming environment for music, audio and media called Max/MSP/Jitter, allowing the composer to program and implement interactive music processes quickly and with varying levels of sophistication, thus encouraging the student to explore real-time creative possibilities of digital music technology.
CMPN3634 Computer Music Advanced

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2 hr lect/wk Prerequisites: CMPN2633 Assessment: 2 programming assignments (2x25%) and Final project (50%)
This unit will focus on interactive and generative composition within the digital audio domain and the application of sound synthesis to live electronic music performances in which sound is generated and transformed during the performance rather than pre-recorded. This unit investigates sound generation techniques allowing the composer to create and modify sound with Max/MSP/Jitter. Students will explore the means by which sound is produced with computers to extend the creative possibilities of digital signal processing.

Music Education

MUED1004 Non Western Music

Credit points: 3 Teacher/Coordinator: Chair of Unit Session: Semester 1,Semester 2 Classes: 2hr workshop/wk Assessment: Participation; performance; regular submission of written reports; major assignment. (100%)
An important expectation of all music educators is the ability to teach from a perspective which acknowledges the cultural dimensions of music. To encourage the development of this perspective, this unit provides students with the opportunity to study a musical culture through direct experience of it, and to analyse the implications for teaching and learning that this presents. Issues dealing with methodologies of teaching, learning and research; ethical considerations; and the availability and applications of resources are covered in the unit.
MUED1006 Significant Methods

Credit points: 3 Teacher/Coordinator: Chair of Unit Session: Semester 1 Classes: 2 hr workshop/wk Assessment: Written assignment; design of learning experiences which demonstrate an understanding of relevant method(s) (100%)
This unit will provide students with an opportunity to develop knowledge of, and teaching skills relating to significant music education methods. Students will focus on a number of internationally recognised approaches to teaching music, for example those developed by Kodaly and Orff, as well as more recent innovations from the 20th and 21st centuries. Students will participate in learning experiences which develop their musical knowledge and are suitable for application to a variety of teaching situations, especially classroom teaching.
MUED1008 Fundamentals of Teaching

Credit points: 3 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 1 Classes: One 2 hr seminar/week Prohibitions: GENS1000 Assessment: Research Activity Report 1000 wds (30%), Essay 1000 wds (30%), Electronic Group poster & presentation (30%), ePortfolio task (10%)
Examining the theory and practice of how to teach and how students learn music is important for intending teachers of music. This unit of study provides strategies and skills for reflective classroom music teaching. It is based around the need for teachers to create appropriate learning experiences through understanding of and effective use of pedagogy. The goal of this unit of study is the development of reflective classroom music teachers, who can design, implement and evaluate effective teaching and learning experiences. This unit of study covers: the roles of schools; relationships between schools, teachers and learners; recognition, discussion and demonstration of a variety of appropriate teaching strategies for music; methods for creating positive and reflective learning environments supporting learning for all students; principles underlying theoretical models of pedagogy; practices of theoretical models for effective teaching and learning; understanding of relationships between teaching and learning.
MUED1009 Psychology of Learning and Instruction

Credit points: 3 Teacher/Coordinator: Dr James Renwick Session: Semester 2 Classes: One 2 hr seminar/week Prohibitions: GENS1001 Assessment: Two eLearning discussion postings (20%), Essay 1000-15000 wds (30%), Group tut presentation (10%), Lesson plan and analysis (30%), Class preparation and participation (10%)
This unit introduces the study of the psychology to learning and instruction, presenting an overview of the historical relationships between education and psychology, and how cognitive research informs educational practices. It develops students' understandings of psychology's applicability to music education through discussion of relevant research, participation in class activities, and consideration of real-life situations. It aims to develop students' understanding of learners, the learning process, and how educators can optimise music instruction through adopting best practices based on empirical research and understandings of psychology relevant to educational settings.
MUED2000 Adolescent Development

Credit points: 3 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 1 Classes: One 2 hr seminar/week Prerequisites: MUED3602 and MUED4602 Corequisites: MUED4611 or MUED4633 Prohibitions: GENS2000 Assessment: Case study (30%), Seminar presentation (20%), Essay 1500 wds (40%), ePortfolio (10%)
This unit of study explores the study of developmental psychology with a major emphasis on the change and development unique to adolescence. The impetus of the unit of study is the question "What is developmental psychology?", and this is examined through different approaches to the study of human development through cognitive, social, emotional and biological influences. A summary of the milestones in human development from infancy throughout childhood is undertaken through a review of Piaget's Theory from the unit of study, Psychology of Learning and Instruction. The transition from the concrete operational stage (childhood) to formal operations (adolescence) in a school music classroom is the focus of study. The major emphasis of this unit of study is on adolescence; adolescence and family, peer and personal relationships; development of identity; exploration of issues in adolescence such as moral dilemmas, rebellion and peer influence; research and theories related to these topics and their implications for secondary school classroom teaching and music education are discussed. Aspects of social cognition are discussed through various scenarios that adolescence presents to teachers in secondary school classrooms.
MUED2605 Children, Music and Educational Settings

Credit points: 6 Teacher/Coordinator: Assoc Prof Kathy Marsh Session: Semester 2 Classes: A combination of classes (3 hrs x 5 weeks plus 2 hrs x 4 weeks) and professional experience (practice teaching) in schools Prerequisites: MUED1006 and MUED1008 Assessment: Annotated bibliography and syllabus discussion; planning, teaching and evaluating of music experiences; assessment of teaching competence in relation to stipulated criteria (100%).
This unit develops the knowledge and skills fundamental to the planning, teaching and evaluation of effective music learning experiences for children in the primary school. Students will participate in a range of practical activities in order to acquire a repertoire of developmentally appropriate music experiences for teaching and learning in K-6 settings. Students will become familiar with the approaches of current music and creative arts curriculum documents and resources, and will plan and implement sequential music experiences which facilitate the children's development of musical creativity, skills and concepts and which incorporate cultural diversity. This unit incorporates the first practice teaching experience in primary schools (Professional Experience 1). The Professional Experience is graded Pass/Fail only and consists of 7 single days and a nine day block in a primary school under the supervision of a classroom teacher. See Professional Experience 1 Handbook for further details.
MUED3031 Survey of Jazz History

Credit points: 3 Teacher/Coordinator: Chair of Unit Session: Semester 1 Classes: 1 hr lecture, 1 hour workshop/wk Assessment: live gig report (10%), teaching sequence and tut presentation (60%), exam (30%)
Note: This unit is not available for Jazz Performance students unless they are enrolled in BMus (Music Education).
This unit of study provides students with an overview of the development of jazz from its earliest stages to the present. The approach will be one of analysis of stylistic characteristics of the different types of jazz. It is especially designed for students in the BMus(MusEd) degree program for whom it is a core requirement, but is also available to students in other degree programs (apart from Jazz Performance students). Lecture material will be supplemented by practical workshops involving performance and introduction to improvisation, and soloing techniques.
MUED3602 Teaching Music: Junior Secondary School

Credit points: 12 Teacher/Coordinator: Dr Michael Webb Session: Semester 2 Classes: A combination of classes (6 hrs x 6 weeks) and professional experience in schools Prerequisites: MUED2605 Assessment: Written discussion of set readings and ideas and principles covered in Unit of Study sessions; development of a classroom management plan; the design and submission of a junior secondary music teaching and learning sequence incorporating the use of technology; and the delivery before peers of a lesson developed according to prescribed teaching and learning principles (100%)
This Unit of Study prepares students for careers in secondary music teaching. Current junior secondary syllabus documents are analysed, pedagogical theories are examined and practical strategies for teaching group listening, performance, creative and musicological skills and understandings are explored. Areas addressed include lesson planning, programming, classroom management, and resource selection and development. Technology and media issues related to music education are also considered. All of these components are studied in the broader context of creating and sustaining a challenging classroom learning environment. This unit of study includes the second Professional Experience (practice teaching) session of the Music Education degree program.
MUED3603 Composition in Music Education

Credit points: 3 Teacher/Coordinator: Chair of Unit Session: Semester 1 Classes: 2 hour workshop/week Prerequisites: MUED1002 or MUED4002 Assessment: Composition (50%), design of composition task (50%).
This unit of study will examine the teaching and learning of composition in schools. Through the completion of small composition exercises, particularly using recent Australian compositions as a model, students will develop strategies to successfully integrate composition in their teaching and experience ways in which composition can be seen as a site of music learning. Students will survey sampling, sequencing and notation software, develop skills in software evaluation suitable for composition, and discuss how technology can enhance the teaching and learning of composition. Strategies for assessing composition work will be considered.
MUED3604 Ensemble Pedagogy

Credit points: 6 Teacher/Coordinator: Dr Michael Webb Session: Semester 2 Classes: Three 2-hr workshops per week for 6 weeks Assessment: Submission of an arrangement/composition in short score of two pieces of music, for choral and for mixed instrumental ensemble; submission of original composition or arrangement in detailed full score using notation software; planning and conducting of rehearsal session; submission of written rehearsal plan and written self-evaluation based on video of session (100%).
Note: Note: Department permission required for enrolment by students not enrolled in BMus (Music Ed)
Choral and/or instrumental ensemble programs are a significant component of school music education and commonly involve the music teacher in various musical roles in addition to those of co-ordinator and/or administrator. This Unit of Study is creative and practical in nature and provides students with both a general understanding of the fundamental components of school choral and instrumental work and a more detailed understanding of how to establish, maintain and sustain successful school choral and instrumental music programs. Key pedagogical issues are considered and relevant skills are practised, including creating scores and leading and conducting rehearsals.
MUED4002 Technology in Music Education

Credit points: 3 Teacher/Coordinator: Chair of Unit Session: Semester 2 Classes: 2 hour seminar/week Prohibitions: MUED1002 Assessment: PA setup (30%), Preparation of teaching kit (70%)
This unit will explore the possibilities offered by technology in music teaching and learning. Representative software packages for sequencing, aural training and computer-aided notation will be examined. Students will explore the potential of sound recording and the manipulation of sound files on a computer in a software environment such as GarageBand and Logic, and the associated copyright issues. Management of students within the computer and keyboard labs will be considered. The primary assessments will be the development of a small website that integrates audiovisual content, and an exercise in setting up/running a PA system.
MUED4006 Popular Music Studies

Credit points: 3 Teacher/Coordinator: Dr Michael Webb Session: Semester 1 Classes: 2hr workshop/wk Assessment: Presentation (30%), reports (25%), assignment (45%).
The purpose of this unit is to examine methods for teaching popular music. This includes study of relevant literature, investigation of the place of popular music in music education, analysis methods suitable for popular music, composition and performance of popular music, and technology aspects of popular music studies.
MUED4602 Senior Secondary Music Education

Credit points: 6 Teacher/Coordinator: Dr Michael Webb Session: Semester 1 Classes: 3 hour seminar/week Prerequisites: MUED3602 Assessment: Student presentation/s; reading assignments; major assignment (100%)
This unit of study investigates the principles and practices of music teaching and learning at the senior secondary school level. It covers: aural skills, creativity, assessment, planning, repertoire, music analysis, musical understanding, resources and curriculum development. Musical content in this unit of study concentrates on music of the last 25 years with and Australian focus.
MUED4603 Cultural Diversity in Music Education

Credit points: 6 Teacher/Coordinator: Assoc Prof Kathy Marsh Session: Semester 1 Classes: 3 hours seminar/week Assumed knowledge: It is strongly recommended that students have completed MUED2605 Children, Music & Educational Settings, and MUED3602 Teaching Music in the Junior Secondary School Assessment: reading assignment, fieldwork assignment and seminar presentation (100%)
This unit prepares students to teach music in a culturally diverse society. Music of a range of cultures is investigated in relation to its structure and cultural context and varied approaches to teaching this music in a classroom context are explored. Provision is made for the collection, evaluation and development of music resources appropriate for teaching in culturally diverse educational settings.
MUED4632 Professional Issues in Music Education

Credit points: 12 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 2 Classes: One 1 hr lecture and 3 hr seminar/week Prerequisites: MUED3602 and MUED4602 Corequisites: MUED4633 Assessment: Action research project related to reflective evaluation of teaching which involves a proposal (20%) and a presentation of project findings (20%), Seminar presentation (20%), Essay or Case Study (30%), ePortfolio (web folio) (10%)
This unit of study assists students in making their final transition into music teaching professionals. It draws on knowledge and skills derived from previous units of study, and provides students with a broader view of the social and professional contexts of teaching with reference to local, national and international educational settings. It focuses on special education and gender issues to explore of aspects of individual difference (cognitive, social, emotional and physical). In combination with the practical teaching experience in the associated unit of study, Professional Experience, this unit provides a foundation and opportunities for students to become reflective practitioners in the field of music education. The focus on individual needs of school students provides a specific perspective on special education required for teaching in NSW schools.
MUED4633 Professional Experience 3

Credit points: 12 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 1,Semester 2 Classes: 36-40 days placement in a school. Prerequisites: MUED3602 and MUED4602 Corequisites: MUED4632 Assessment: Professional Experience Report (100%)
This unit of study provides the final professional experience for music education students. The program consists of a nine-week teaching block in a New South Wales secondary school. Students will be required to teach both junior and senior secondary school music classes and undertake the daily responsibilities and activities of a music teacher. It is envisaged that in the final weeks of this unit students will be responsible for a music teacher's full day teaching program. This last practice teaching experience enables the student music teacher to put into practice theoretical and practical content of all previous music education courses completed in their four year degree. It provides experiences, through which student teachers further develop an understanding of the ethical and professional requirements of being a teacher, successfully communicate with their students and fellow teaching colleagues and become independent, self-motivated practicing music teachers.

Music Skills

Aural Perception

Aural Perception is taken as a sequence of either four or five semester units. On entry to the BMus, DipMus, BMusStudies and combined degree awards courses, students will -- on the basis of a written test -- be assigned either to AP1 or to AP1A and AP1B. Both options cover the same material and have the same exit standard, but while AP1 is a one semester unit, AP1A and AP1B extend over one year (two semesters) to enable students with limited experience or weakness to progress at a slower pace. Regardless of the results of the written test, students may request enrolment in AP1A and AP1B. Students who successfully complete AP1 in first semester progress to AP2 in second semester. Students who successfully complete AP1B at the end of second semester progress to AP2 in first semester of the following year. The AP units aim to foster musical understanding by developing the aural perception skills which are essential for any professional musician: The ability to recognise, memorise and notate musical patterns heard (dictation and analysis work); and the ability to imagine in one's 'inner ear', and reproduce vocally, musical patterns from notation (Solfege work). Students are encouraged to apply the ideas and procedures studied in class to their own musical pursuits. Within the Musicology unit, AP is integrated as closely as possible with the Harmony and Music History units. For further information contact the Aural Perception Co-ordinator, Christopher Coady (Musicology).
MCGY1000 Aural Perception 1

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 1 Classes: One 1hr Lab and one 1hr Solfege tut/wk Assumed knowledge: Ability to read music notation including treble and bass clefs. Knowledge of all tonal key signatures and standard time signatures. Assessment: Weekly Lab assignment (15%); 1hr mid-semester written test (15%); Solfege class work assessment (15%); 1hr written examination (30%): 10 min Solfege examination (25%).
Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres, including rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007)
MCGY1001 Aural Perception 1A

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 1 Classes: One 1hr lab and one 1hr Solfege tut/wk Assumed knowledge: Ability to read music notation including treble and bass clefs. Knowledge of all tonal key signatures and standard time signatures. Assessment: Weekly Lab tests (25%); weekly Lab assignments (15%); Solfege tutorial assessment (15%); 1hr Lab examination (25%); 5 min Solfege examination (20%).
Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007)
MCGY1002 Aural Perception 1B

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1001 Assessment: Weekly Lab assignment (15%); 1hr mid-semester written test (15%); Solfege class work assessment (15%); 1hr written examination (30%): 10 min Solfege examination (25%).
Students continue to working on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre..
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007)
MCGY1003 Aural Perception 2

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1000 or MCGY1002 Assessment: Weekly Lab assignment (15%); 1hr mid-semester written test (15%); Solfege class work assessment (15%); 1hr written examination (30%): 10 min Solfege examination (25%).
Materials studied include diatonic harmony, species counterpoint, modes and rhythms using sub- and supertriplets.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007)
MCGY2004 Aural Perception 3

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1003 Assessment: Weekly Lab assignment (15%); 1hr mid-semester written test (15%); Solfege class work assessment (15%); 1hr written examination (30%): 10 min Solfege examination (25%).
Materials studied include more complex tonal melodies, chromatic tonal harmony, and rhythms using irregular division and small divisions.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007)
MCGY2005 Aural Perception 4

Credit points: 3 Teacher/Coordinator: Christopher Coady Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY2004 Assessment: Weekly Lab assignment (15%); 1hr mid-semester written test (15%); Solfege class work assessment (15%); 1hr written examination (30%); 10 min Solfege examination (25%).
Materials studied include more complex chromatic tonal harmony, atonal melodic and harmonic materials, and more complex rhythmic materials including irregular and mixed metres.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton (2007). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton (2007) Additional textbooks as advised by the lecturer or on the course website.

Harmony and Analysis

MCGY1008 Harmony and Analysis 1

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 1 Classes: 1 lecture,1 tutorial/wk Assessment: Assignments (40%), examination (60%)
An understanding of the materials of tonal music is fundamental to all aspects of a student's musicianship. The acquisition of practical skills in harmony provides a means of examining in their essence issues of musical structure and technique that apply throughout the tonal repertoire. In the first semester students gain fluency in writing four-part harmonisations using diatonic vocabulary, learning the basic chord functions and voice-leading patterns that will provide a framework for later elaboration. Exercises in species counterpoint are included to assist in the comprehension of voice leading principles, and the linear conception of music is further explored through introductory exercises in analysis.
Textbooks
Gauldin Robert, Harmonic practice in tonal music. 2nd ed. NY: Norton, 2004.
MCGY1009 Harmony and Analysis 2

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY1008 Assessment: Assignments (40%), examination (60%)
Having acquired basic skills in voice leading and an understanding of diatonic chord functions,students are introduced to more advanced concepts that are encountered frequently in the tonal repertoire. These include modulation, diatonic sequences and techniques for working with instrumental textures. Counterpoint studies are continued, both in practice and in analysis, where some aspects of Baroque musical forms are considered.
Textbooks
Gauldin Robert. Harmonic practice in tonal music. 2nd ed NY: Norton, 2004
MCGY2010 Harmony and Analysis 3

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 1 Classes: 4 lectures and 8 keyboard tutorials/semester, 1 tutorial/wk Prerequisites: MCGY1009 Assessment: Assignments (30%), Keyboard assessments (30%), examination (40%)
In Semesters 1 and 2 some separation is maintained between studies in counterpoint and harmony but the emphasis here is upon drawing together those two aspects. An ideal model for this approach is offered by the chorales of J.S. Bach, which form a focus in Semester 3. Each topic is, however, extended to embrace later styles and assignments include the writing of short piano pieces, along with chorale settings and figured-bass exercises. With the benefit of a broader harmonic vocabulary, students will also investigate some aspects of fugal technique and sonata forms.
Textbooks
Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004. Gauldin, Robert. Workbook for Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004.
MCGY2011 Harmony and Analysis 4

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY2010 Assessment: Assignments (50%), examination (50%).
The study of pre-20th century tonal harmony is completed with a consideration of chromatic techniques, particularly those found in the music of the first half of the 19th century. An exhaustive study of later 19th century chromaticism is beyond the scope of a course at this level, but is intended that students will at least acquire the ability to look further into the music of that period as they encounter it. In keeping with the stylistic orientation of the course, emphasis is placed upon developing facility with instrumental textures and working with some of the smaller forms found in 19th century music.
Textbooks
Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004. Gauldin, Robert. Workbook for Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004.

Jazz Music Skills

JAZZ1621 Jazz Music Skills 1

Credit points: 6 Teacher/Coordinator: William Motzing /Matt McMahon Session: Semester 1 Classes: 2 x 2 hr tuts/week Corequisites: JAZZ1601 or JAZZ1631 Assessment: Harmony and Arranging Module: Written harmony test (50%), approved number of arrangements (50%) Aural Module: One test (20%), one 2 hour exam (80%)
Harmony and Arranging Module: Students review clefs, key signatures, note values, dynamics, articulation, and learn copying and rehearsal techniques. In addition, instruction will include the ranges of and transpositions for the various instruments, chord symbols, scale-chord relationships, and rhythm section scoring. This unit deals with the study of the harmony of standard jazz repertoire. Students learn to understand and use basic harmonic rules and the typical harmonic devices, diatonic progression and chord patterns which are learned with a view to generating a creative sense of jazz harmony and the ability to write small combo arrangements. The harmonic techniques explored in this unit of study are used as the theoretical basis for Jazz improvisation. Students may be organised into ensemble-like groups and may be expected to bring their instruments to perform the works presented. Aural Module: Offers a systematic study of all simple intervals up to and including one octave, triadic harmony, four note chords in closed position and voice leading within these concepts, focusing on common harmonic movements that occur in the jazz repertoire. N.B Both the Harmony and Aural Modules must be passed in order for the student to proceed to Jazz Music Skills 2.
Textbooks
The Chord Scale Theory & Jazz Harmony / Barrie Nettles; Richard Graf
JAZZ1622 Jazz Music Skills 2

Credit points: 6 Teacher/Coordinator: William Motzing, Matt McMahon Session: Semester 2 Classes: 2 x 2 hr tuts/week Prerequisites: JAZZ1621 Corequisites: JAZZ1632 Assessment: Harmony and Arranging Module: Written harmony test (50%), approved number of arrangements (50%) Aural Module: One test (20%), one 2 hour exam (80%)
Harmony and Arranging Module: In semester two, the voicing techniques for two to four horns stressing the most effective registers, harmonisation of passing tones, clusters and other techniques will be introduced. The harmonic techniques explored in this unit are used as the theoretical basis for Jazz improvisation. Students may be organised into ensemble-like groups and may be expected to bring their instruments to perform the works presented.
Aural Module: Consolidates and expands upon concepts and skills introduced in Jazz Music Skills 1, and introduces compound intervals, open voicings, the addition of upper extensions to all chord types, and increasingly complex harmonic structures. N.B Both the Harmony and Aural Modules must be passed in order for the student to proceed to Jazz Music Skills 3.
Textbooks
The Chord Scale Theory & Jazz Harmony / Barrie Nettles; Richard Graf
JAZZ2623 Jazz Music Skills 3

Credit points: 6 Teacher/Coordinator: William Motzing, Matt McMahon Session: Semester 1 Classes: 2 x 2 hr tuts/week Prerequisites: JAZZ1622 Corequisites: JAZZ2603 or JAZZ2633 Assessment: Harmony and Arranging Module: Written harmony test (50%), approved number of arrangements (50%) Aural Module: One test (20%), one 2 hour exam (80%).
Harmony and Arranging Module: Concentrates on more complex harmonic material that forms the basis for Jazz Improvisation 3 as well as learning arranging techniques for five horns and more complex ensemble music. Methods of reharmonisation of existing jazz and standard compositions will be introduced. Students will learn big band orchestration which will include ensemble scoring, sax soli, background writing, form and the related uses of counterpoint.There will be detailed analysis of scores of major composers and arrangers.
Aural Module: Consolidates and expands upon concepts and skills introduced in Jazz Music Skills 1 and 2, plus introducing advanced chord types, and increasingly complex harmonic structures. N.B Both the Harmony and Aural Modules must be passed in order for the student to proceed to Jazz Music Skills 4.
Textbooks
The Chord Scale Theory & Jazz Harmony / Barrie Nettles; Richard Graf
JAZZ2624 Jazz Music Skills 4

Credit points: 6 Teacher/Coordinator: William Motzing, Matt McMahon Session: Semester 2 Classes: 2 x 2 hr tuts/week Prerequisites: JAZZ2623 Corequisites: JAZZ2604 or JAZZ2634 Assessment: Harmony and Arranging Module: approved number of arrangements (100%) Aural Module: One test (20%), one 2 hour exam (80%)
Harmony and Arranging Module: Students learn big band orchestration including ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers. Selected arrangements may be rehearsed by a Big Band. Students may study contemporary techniques encompassing elements of polytonality, serial composition, extended instrumental effects Lydian technique and textural voicings. This subject also deals with the harmonic concepts used in Jazz Improvisation.
Aural Module: Consolidates all concepts from Jazz Music Skills 1, 2 and 3. By its conclusion, students will have systematically examined, over four semesters, aural concepts that are essential to creative musical interplay in jazz performance. N.B Both the Harmony and Aural Modules must be passed in order for the student to complete.
Textbooks
The Chord Scale Theory & Jazz Harmony / Barrie Nettles; Richard Graf

Music Technology

MUED1002 Music Technology

Credit points: 3 Teacher/Coordinator: Dr Anthony Hood Session: Semester 1,Semester 2 Classes: 1 hr lab/studio/wk Assumed knowledge: Basic computer skills. Assessment: Music Technology Project (100%)
In this unit of study students will be introduced to a range of audio technologies and gain a basic proficiency in sound recording, editing and mixing. Students will experience working in the Conservatorium sound studios, and learn how to make good quality recordings with portable recording devices. There will be an overview of software for notation /sequencing. Students will explore the creative possibilities of music technology by realising a sound work using instrumental and environmental material recorded and edited by them.

Sound Recording

CMPN2006 Sound Recording Fundamentals

Credit points: 3 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2hr studio class/wk Prerequisites: MUED1002 Assessment: Live Stereo Recording (40%), Solo Studio Recording (40%), Online Exam (20%).
This unit of study examines the theory of sound and acoustics, microphone design, stereo microphone techniques, mixing console operation, application of signal modifiers, digital audio recording and CD creation. Students will experience prac-based recording sessions to gain a comprehensive understanding of the recording technology on offer at the Sydney Conservatorium. Jazz students should have completed Jazz Performance 6 before enroling in this unit of study.

Performance including Chamber Music and Ensembles

Chamber Music

All students are required to sign up for chamber music groups after they enrol through the Chamber Music sign-up site at http://webapps.ucc.usyd.edu.au/conservatorium/index.php. Students will receive assistance and approval from unit Chamber Music Coordinators. Students must complete a minimum of four compulsory semesters of chamber music, but may complete up to eight semesters in chamber music (with unit permission). Piano students take the alternative Accompaniment units in their first two years. Students from the Vocal Unit may enrol in Choral Ensemble in lieu of Chamber Music for a maximum of two semesters. Each student also completes one semester of Composer Performer Workshop in Chamber Music 4 either as an individual or as a group. This counts as one of the compulsory four semesters of chamber music required of all Bachelor of Music and Diploma students. Chamber Music in this context is defined as a group of 3-10 musicians, performing without a conductor. In rare circumstances large works of chamber music may be conducted by a tutor or conductor nominated by the Chair of Conducting. Combinations outside these guidelines will only be acceptable under certain conditions, as prescribed by the Accompaniment and Chamber Music Unit. In accordance with this definition, participation in other larger ensembles within the Conservatorium will not be regarded as an acceptable alternative to Chamber Music. Students are assigned a Principal Tutor who will advise of appropriate works for each level and coach the ensemble through the semester. Each group is required to attend six 1-hour tutorials per semester. It is expected that students prepare and rehearse to professional standards of performance.
CHMB1301 Chamber Music 1

Credit points: 3 Teacher/Coordinator: Andrew Barnes Session: Semester 1,Semester 2 Classes: Six 1 hr tutorials Assessment: Tutorials (50%), one performance exam as rostered by unit coordinator (50%).
Chamber music and chamber music skills are studied through the focused engagement with specific repertoire. Students are assigned a Principal Tutor who will advise of appropriate works for each level and coach the ensemble through the semester.
CHMB1302 Chamber Music 2

Credit points: 3 Teacher/Coordinator: Andrew Barnes Session: Semester 1,Semester 2 Classes: Six 1 hr tutorials Prerequisites: CHMB1301 Assessment: Tutorials (50%), one performance exam as rostered by unit coordinator (50%).
New chamber music repertoire is studied either with another ensemble or with a continuing ensemble. The development of new musical relationships or the evolution of pre-existing ones are amongst the various matters considered and evaluated during this semester.
CHMB2303 Chamber Music 3

Credit points: 3 Teacher/Coordinator: Andrew Barnes Session: Semester 1,Semester 2 Classes: Six 1 hr tutorials Prerequisites: ENSE1007 or CHMB1302 Assessment: Tutorials (50%), one performance exam as rostered by unit coordinator (50%).
Chamber music training this semester involves numerous further key skills. The essential entrepreneurial ability to produce and promote concerts is a natural extension of working in a chamber music group and creating a niche in the marketplace. Concert and tour opportunities may assist in this process.
CHMB2304 Chamber Music 4 (CPW)

Credit points: 3 Teacher/Coordinator: Michael Smetanin Session: Semester 1,Semester 2 Classes: 2 hour workshop/week Prerequisites: ENSE2002 or CHMB2303 Assessment: Professional approach in workshops (60%), Performance at the CPW concerts (40%)
This semester will mark the end of chamber music studies for some students. The achievement of a high standard of professional preparation, rehearsal and performance will be expected and progress will be evaluated. Students will participate in Composer Performer Workshop either as an individual or as a group. The Composer Performer Workshop provides both composers and performers with the opportunity to work together in the performance of new and experimental works.

Composer Performer Workshop

CMPN3000 Composer Performer Workshop 1

Credit points: 3 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 1,Semester 2 Classes: 2hr workshop/wk Assessment: For all students: professional approach in workshops (60%). For composers only: CPW concert attendance, submission of program notes and 2 copies of each score to be played, concert management duties such as stage managing and preparation of programs and publicity (40%). For performers only: performance at the CPW concert(s) (40%).
The Composer Performer Workshop provides both composers and performers with the opportunity to work together in the performance of new and experimental works.
CMPN3001 Composer Performer Workshop 2

Credit points: 3 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 1,Semester 2 Classes: 2hr workshop/wk Prerequisites: CMPN3000 Assessment: For all students: professional approach in workshops (60%). For composers only: CPW concert attendance, submission of program notes and 2 copies of each score to be played, concert management duties such as stage managing and preparation of programs and publicity (40%). For performers only: performance at the CPW concert(s) (40%).
The Composer Performer Workshop provides both composers and performers with the opportunity to work together in the performance of new and experimental works.
CMPN4000 Composer Performer Workshop 3

Credit points: 3 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 1,Semester 2 Classes: 2hr workshop/wk Prerequisites: CMPN3001 Assessment: For all students: professional approach in workshops (60%). For composers only: CPW concert attendance, submission of program notes and 2 copies of each score to be played, concert management duties such as stage managing and preparation of programs and publicity (40%). For performers only: performance at the CPW concert(s) (40%).
The Composer Performer Workshop provides both composers and performers with the opportunity to work together in the performance of new and experimental works.
CMPN4001 Composer Performer Workshop 4

Credit points: 3 Teacher/Coordinator: Dr Michael Smetanin Session: Semester 1,Semester 2 Classes: 2hr workshop/wk Prerequisites: CMPN4000 Assessment: For all students: professional approach in workshops (60%). For composers only: CPW concert attendance, submission of program notes and 2 copies of each score to be played, concert management duties such as stage managing and preparation of programs and publicity (40%). For performers only: performance at the CPW concert(s) (40%).
The Composer Performer Workshop provides both composers and performers with the opportunity to work together in the performance of new and experimental works.

Continuo

EMUS1671 Continuo 1

Credit points: 3 Teacher/Coordinator: Dr Neal Peres Da Costa Session: Semester 1,Semester 2 Classes: 1 hr class/week Assumed knowledge: Standard 17th - and 18th century repertoire and harmony. Assessment: 1 class presentation or performance and 1 written assignment 2000 words (100%)
In this Unit of Study students will acquire essential foundations for successful and artistic basso continuo realisation. The Unit is aimed at harpsichordists, lutenists, baroque cellists, viola da gambists and harpists, but will also be of great benefit to melody-line instrumentalists and singers. The Unit will include intensive study and application of figured bass principles, improvisation, ornamentation, score reading, harmonic hierarchy and its implications, and general principles of bass-line playing in relevant chamber and orchestral repertoire. Historical and stylistic awareness through research of relevant pedagogical texts, discussion and application will be a strong and on-going focus.
EMUS1672 Continuo 2

Credit points: 3 Teacher/Coordinator: Dr Neal Peres Da Costa Session: Semester 1,Semester 2 Classes: 1 hr class/week Prerequisites: EMUS1671 Assessment: 1 class presentation or performance and 1 written assignment 2000 words (100%)
Note: It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 2.
In this Unit of Study students will further develop skills for successful and artistic basso continuo realisation, through application of figured bass principles, improvisation, ornamentation, score reading, harmonic hierarchy and its implications, and general principles of bass-line playing in relevant chamber and orchestral repertoire. Historical and stylistic awareness through research of relevant pedagogical texts, discussion and application will be a strong and on-going focus.
EMUS2673 Continuo 3

Credit points: 3 Teacher/Coordinator: Dr Neal Peres Da Costa Session: Semester 1,Semester 2 Classes: 1 hr class/week Prerequisites: EMUS1672 Assessment: 1 class presentation or performance and 1 written assignment 2000 words (100%)
Note: It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 5.
In this Unit of Study students will become musically and technically proficient in basso continuo realisation through intensive study and application of figured bass principles, improvisation, ornamentation, score reading, harmonic hierarchy and its implications, and general principles of bass-line playing in relevant chamber and orchestral repertoire. Historical and stylistic awareness through research of relevant pedagogical texts, discussion and application will be a strong and on-going focus.
EMUS2674 Continuo 4

Credit points: 3 Teacher/Coordinator: Dr Neal Peres Da Costa Session: Semester 1,Semester 2 Classes: 1 hr class/week Prerequisites: EMUS2673 Assessment: 1 class presentation or performance and 1 written assignment 2000 words (100%)
Note: It is strongly advised that all bass continuo instrumentalists (harpsichordists, organists, fortepianists, lutenists, harpists and so on) take this Unit of Study with Principal Study 6.
In this Unit of Study students will gain mastery of basso continuo realisation through intensive study and application of figured bass principles, improvisation, ornamentation, score reading, harmonic hierarchy and its implications, and general principles of bass-line playing in relevant chamber and orchestral repertoire. Historical and stylistic awareness through research of relevant pedagogical texts, discussion and application will be a strong and on-going focus.

Jazz Ensemble

JAZZ1611 Jazz Ensemble 1

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 1 hr Jazz Piano class; 2 hr Small Ensemble class; 2 hr Elective Jazz Orchestra class OR 3 hr Big Band class/week Corequisites: JAZZ1601 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all three elements of this Unit in order to proceed to subsequent units of study.
Note: Jazz students must attend the Large Ensemble auditions for placement in one of the large ensembles; Non-jazz students can apply to the Chair of Jazz Unit to audition for entry to either the Large or Small Jazz Ensemble 1-8 electives.
This unit of study provides jazz students with the opportunities for performance of large ensemble arrangements in a Big Band, small jazz ensemble works and arrangements including original works by the students themselves in a nominated small jazz ensemble, and participation in Jazz Piano class.
JAZZ1612 Jazz Ensemble 2

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 1 hr Jazz Piano class; 2 hr Small Ensemble class; 2 hr Elective Jazz Orchestra class OR 3 hr Big Band class Prerequisites: JAZZ1611 Corequisites: JAZZ1602 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all three elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with the opportunities for performance of large ensemble arrangements in a Big Band, small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, and participation in Jazz Piano class.
JAZZ2613 Jazz Ensemble 3

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ1612 Corequisites: JAZZ2603 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all three elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with the opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.
JAZZ2614 Jazz Ensemble 4

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class or (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ2613 Corequisites: JAZZ2604 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all three elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.
JAZZ3615 Jazz Ensemble 5

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class or (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ2614 Corequisites: JAZZ3605 or JAZZ3205 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.
JAZZ3616 Jazz Ensemble 6

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class or (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ3615 Corequisites: JAZZ3606 or JAZZ3206 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.
JAZZ4617 Jazz Ensemble 7

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class or (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ3616 Corequisites: JAZZ4207 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all elements of this Unit in order to proceed to subsequent units of study.
This unit of study provides the jazz student with opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.
JAZZ4618 Jazz Ensemble 8

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2 hr Small Ensemble class or (3 Hrs for advanced ensemble); 2 hr Elective Jazz Orchestra class, or 3 Hr Big Band Class Prerequisites: JAZZ4617 Corequisites: JAZZ4208 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during rehearsals and performances, and nominated assessment tasks (100%) NB: the student must pass all elements of this Unit.
This unit of study provides the jazz student with opportunities for performance of large ensemble arrangements in the Elective Jazz Orchestra, or Big Band, and performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble, or Advanced Ensemble.

Jazz Improvisation

JAZZ1006 Jazz Improvisation 1

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr tut/wk Corequisites: JAZZ1601 Assessment: 3 class tests (60%), attendance and participation (40%)
This 2 hour combo-sized class meets once per week and will cover improvisation techniques including identification of key centres, selection of appropriate scales and other melodic considerations, rhythmic considerations and accuracy of time and pitch. A list of set repertoire will be provided.
JAZZ1007 Jazz Improvisation 2

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ1006 Corequisites: JAZZ1602 Assessment: 3 class tests (60%), attendance and participation (40%)
This 2 hour combo-sized class meets once per week and will cover improvisation techniques including identification of key centres, selection of appropriate scales and other melodic considerations, rhythmic considerations and accuracy of time and pitch. A list of set repertoire will be provided.
JAZZ2006 Jazz Improvisation 3

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1007 Corequisites: JAZZ2603 Assessment: 3 class tests (60%), attendance and participation (40%)
This 2 hour combo-sized class meets once per week and will cover improvisation techniques including identification of key centres, selection of appropriate scales and other melodic considerations, rhythmic considerations and accuracy of time and pitch. A list of set repertoire will be provided.
JAZZ2007 Jazz Improvisation 4

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2006 Corequisites: JAZZ2604 Assessment: 3 class tests (60%), attendance and participation (40%)
This 2 hour combo-sized class meets once per week and will cover improvisation techniques including identification of key centres, selection of appropriate scales and other melodic considerations, rhythmic considerations and accuracy of time and pitch. A list of set repertoire will be provided.

Opera Ensemble

VSAO1047 Opera Ensemble 1

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%).
The aim is to impart to the students a solid knowledge base to enable them to make informed musical choices in the mainstream operatic literature spanning over four centuries, and developing tools for working within a multiplicity of styles and national differences. In this semester, the focus of the repertoire would be upon (but not limited to) the Classical Style: Mozart, Haydn, Gluck etc.
VSAO1048 Opera Ensemble 2

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Prerequisites: VSAO1047 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
The concepts introduced in Semester 1 are further elucidated, honed and developed. Increasing musical sophistication and sense of ensemble style will be expected. Increased confidence and application is also required leading to increased self-reliance. Some Baroque ensembles may also be included where appropriate.
VSAO2047 Opera Ensemble 3

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Prerequisites: VSAO1048 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
Increasingly complex ensembles are introduced, and greater involvement with the integration of language is expected. Refinement in blending and tone colour is also explored, as individual singers' techniques are developed. Works from the Bel Canto school may be introduced and explored during this semester.
VSAO2048 Opera Ensemble 4

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Prerequisites: VSAO2047 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
As experience with a variety of repertoire continues to grow, where appropriate, ensembles from the French and German schools of the mid - late 19th century are gradually introduced. Where circumstances allow, other national school are introduced, such as the Czech and Russian. Emphasis continues upon practical application of skills into repertoire for Conservatorium Opera and public concerts as available.
VSAO3047 Opera Ensemble 5

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Prerequisites: VSAO2048 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
Any major areas of the operatic literature requiring ensemble work that have not yet been explored in previous semesters are now introduced. Possible avenues would be twentieth century opera; opera in English; operetta and also certain music theatre works which have a strong operatic affinity (e.g. Kurt Weill, Streetscene).
VSAO3048 Opera Ensemble 6

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 3hr workshop/wk Prerequisites: VSAO3047 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
By this time, students would normally have a keen awareness of their own vocal resource and hence a sense of their future repertoire and possible career directions. They are encouraged to study and explore ensemble repertoire that is relevant to their own research. They are encouraged to develop a mature sense of vocal and musical identity and begin to build ensemble repertoire for a future career.

Opera – Movement & Production

VSAO1631 Movement and Production 1

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, dance & stagecraft, opera performance class and theatre studies). Assessment: Progressive assessment based on class/workshop activities and performance (100%).
Through Stagecraft, Dance, Performance Class and Theatre Studies, students will begin to explore the language and etiquette of theatre, basic dance discipline and the craft of the singer-actor, investigating the skills and techniques required for a convincing theatrical performance and developing the initiative to apply them. Spatial awareness, group dynamics, improvisation, motivation in relation to other performers, characteristics of period movement, elementary skills such as walking, standing, sitting, falling and handling props all provide a practical framework of basic skills, and the opportunity to apply these may be found in Opera Performance Class and the Autumn Chamber Opera production.
VSAO1632 Movement and Production 2

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, acting, dance, stagecraft, opera performance class and theatre studies). Prerequisites: VSAO1631 Assessment: Progressive assessment based on class/workshop activities and performance (100%)
Students will continue their development as opera performers in Stagecraft, Dance, Performance Class and Theatre Studies, increasing their confidence and learning to apply an expanding range of practical stagecraft skills to solo and ensemble repertoire. Exploring the physical response to music, the intellectual approach to text and the challenges of the performing environment, these classes also provide a forum for investigating specific staging requirements arising from the limited involvement of first year students as chorus in the Mainstage and Spring Chamber Opera productions. Students will also experience their first 'role' audition - for Semesters 3 and 4.
VSAO2633 Movement and Production 3

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, acting, dance, stagecraft and opera performance class). Prerequisites: VSAO1632 Assessment: Progressive assessment based on class/workshop activities and performance (100%)
With increasing strength, flexibility, intellectual awareness and confidence as performers, students will expand on the skills already developed in Stagecraft, Dance, Performance Class and Theatre Studies. With the introduction of Acting class these opportunities are augmented, providing new outlets for performance in improvisation, acting games, dialogue, text analysis and development of character and role. Students in the second year of the diploma, having auditioned for principal roles in the Mainstage and Chamber Opera productions, will have provided themselves with specific material to address in class and in staging rehearsals.
VSAO2634 Movement and Production 4

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, acting, dance, stagecraft and opera performance class). Prerequisites: VSAO2633 Assessment: Progressive assessment based on class/workshop activities and performance (100%).
This semester will provide students with their first major performance challenge: the extensive rehearsal period for the Mainstage production, combined with normal class activities, will test their stamina and motivation. Stagecraft skills will be refined and new challenges will be confronted with the demands of production. Time management and role preparation will require particular focus. The requirements of specific roles and the increasingly professional expectation of a fully staged production will provide much of the material for discussion and development in class.
VSAO3635 Movement and Production 5

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, acting, dance, stagecraft and opera performance class). Prerequisites: VSAO2634 Assessment: Progressive assessment based on class/workshop activities and performance (100%).
Students will continue to investigate motivational and physical techniques for the development of character and role and will refine their capability as opera performers. Movement, dance and stagecraft skills will reflect the accumulation of performance experience over the past semesters, and will be reinforced through continued application. While stamina and professional demeanour will be expected, the individual strands of Dance, Acting and Stagecraft will continue to provide support and resources for the demands of production and performance. In these final stages of merging the actor and the singer, skills will be integrated in solo and ensemble work and in realising the performance potential of roles in public performance.
VSAO3636 Movement and Production 6

Credit points: 6 Teacher/Coordinator: Maree Ryan Session: Semester 1,Semester 2 Classes: 7 hours of classes per week (in production, acting, dance, stagecraft and opera performance class). Prerequisites: VSAO3635 Assessment: Progressive assessment based on class/workshop activities and performance (100%).
Final-year students are expected to display a professional approach and understanding of the production process and to have the ability to readily apply the techniques developed in past semesters. The requirements of staged performances will continue to provide topics for investigation in class and students will further the experience of learning to address the challenges of rehearsal and performance. On completion of this unit of study students should be collaborative opera performers with the movement, dance, stagecraft, acting skills and professional attitude expected of performers in opera companies of the 21st century.

Opera – Repertoire

VSAO1016 Opera Repertoire 1

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1hr coaching/wk; plus ensemble workshops and rehearsals Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
Students are introduced to the dynamic between a repertoire coach and an opera singer. Their solo coaching hour should be supplemented by the formulation of a study plan so that they can learn roles that are assigned to them for performance in Conservatorium Opera. They develop their repertoire, in consultation with their teachers, by learning arias and roles which are commensurate with their stage of development. They perform this repertoire in Concert Practice and also in exams. In addition to the coaching element, issues of time management, workload planning and strategic career and development planning are introduced.
VSAO2014 Opera Repertoire 2

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1hr coaching/wk, plus ensemble workshops and rehearsals Prerequisites: VSAO1016 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
Coaching continues, along with input about the realities of the professional life of an opera singer, getting the most out of coaches and coaching, making personal learning styles and difficulties clear to coaches, and the lines of demarcation between a singing teacher, a language coach and a repertoire coach. By the end of year 1 student should be well versed in how they can use repertoire coaches to the best advantage, and what best suits their learning styles.
VSAO2015 Opera Repertoire 3

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1hr coaching/wk, plus ensemble workshops and rehearsals Prerequisites: VSAO2014 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
As students' vocal development continues, repertoire is dealt with in terms of discussing and identifying future roles and general areas, development of a sense of Fach, where appropriate, and a sense of growing vocal identity. Students are encouraged not only to learn arias that are of interest to them, but learning them in the context of a working knowledge of the whole role. Emphasis continues on communication of dramatic situation, especially through text.
VSAO3012 Opera Repertoire 4

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1hr coaching/wk, plus ensemble workshops and rehearsals Prerequisites: VSAO2015 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%)
Students are encouraged to deepen awareness of musical style, and to look for similarities and contrasts across the span of repertoire that they are developing. Attention is also paid to techniques of memorisation and speed learning. Projection of character and singing for a particular acoustic, or space are discussed.
VSAO3313 Opera Repertoire 5

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1 hour coaching per week Prerequisites: VSAO3012 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during coaching, rehearsals and performance (100%).
By now students will have had experience preparing a number of operatic roles, and will have performed several in Conservatorium Opera performances. The will have developed analytic tools for making stylistic decisions about roles over a wide variety of styles, and will be continuing to learn with an awareness of the reality of one day performing on an operatic stage with a conductor and orchestra. Learning and development of repertoire continues with a deeper awareness of these concepts.
VSAO3314 Opera Repertoire 6

Credit points: 3 Teacher/Coordinator: Stephen Mould Session: Semester 1,Semester 2 Classes: 1 hour coaching per week Prerequisites: VSAO3313 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during coaching, rehearsals and performance (100%).
The student will now be in the final phase of learning how to continue to grow and function as an opera singer, with a full awareness of how to plan and build a career, and a large repertoire of roles with the assistance and guidance of a repertoire coach. During this final semester a list of audition arias may be developed and learned, enabling the student to take practical steps in seeking employment upon graduation.

Opera and Vocal Diction

VSAO1008 Italian Diction for Singers 1

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2hr class/wk Assessment: Continuous during semester (40%), oral and written exam (60%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
This unit is designed to introduce the student to the symbols of the International Phonetic Alphabet (IPA). The student will apply knowledge of the IPA to the pronunciation of all sounds in the Italian language. There will be an emphasis on the practice of drills, IPA transcriptions and performance of Italian songs in class. On completion of this unit students should be able to identify and pronounce all symbols in the IPA for Italian.
VSAO1009 German Diction for Singers 1

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2hr class/wk Assessment: Continuous during semester (40%), oral and written exam (60%)
Note: Department permission required for enrolmentin the following sessions:Semester 1
This unit is designed to introduce the student to the basic rules of pronunciation in German lyric diction as represented in the International Phonetic Alphabet (IPA). The student will apply knowledge of the IPA to the pronunciation of all monophthongs, diphthongs and consonants in the German language. There will be an emphasis on the practice of drills, IPA transcriptions and performance of German songs in class. On completion of this unit students should be able to identify and pronounce all symbols in the IPA for German.
VSAO2028 French and Italian Diction for Singers 2

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2hr class/wk Prerequisites: VSAO1009 and VSAO1008 Assessment: Continuous during semester (40%), oral and written Oral and written exam (60%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
In this unit, students will gain an understanding of the sounds of French lyric diction as represented in the International Phonetic Alphabet (IPA). The student will apply knowledge of the IPA to the pronunciation of all sounds in the French language. There will be an emphasis on the practice of drills, IPA transcriptions and performance of French songs in class. The student will also build on and revise the principles of Italian diction for singers. On completion of this unit students should be able to perform texts from French and Italian song repertoire with correct technical delivery whilst showing an understanding of the text.
VSAO2029 German Diction for Singers 2

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2hr class/wk Prerequisites: VSAO1008 and VSAO1009 Assessment: Continuous during semester (40%), oral and written examination (60%)
Note: Department permission required for enrolmentin the following sessions:Semester 1
In this unit, the student will apply knowledge of the IPA to the pronunciation of all sounds in the German language with concentration specific to the language needs of singers. There will be an emphasis on the practice of drills, IPA transcriptions and performance of German songs in class. On completion of this unit students should be able to perform texts from German song repertoire with correct technical delivery whilst showing an understanding of the text.
VSAO3645 Diction for Performance 1

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hours/week Prerequisites: VSAO2028 and VSAO2029 Assessment: Students are required to pass all assessment tasks. Continuous assessment (20%), examination (30%), diction recital (50%).
In this unit the students will concentrate on the specialist language needs of the vocal performer, with the objective of students achieving a professional command of diction in English, French, German, Italian and Spanish. The focus in this unit is producing performance in song repertoire that results from the appreciation of the text-music relationship. On completion of this unit students should be able to demonstrate correct interpretation and delivery of the text.
VSAO3646 Diction for Performance 2

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hours/week Prerequisites: VSAO3645 Assessment: Students are required to pass all assessment tasks. Continuous assessment (20%), examination (30%), diction recital (50%).
In this unit the students will continue to develop specialist language skills required by singers, with the objective of students achieving a professional command of diction in the main languages of classical song repertoire. The focus in this unit is producing performance in song repertoire that results from a greater appreciation of the text-music relationship. On completion of this unit students should be able to further demonstrate correct delivery and expressive interpretation of the text.
VSAO4647 Diction for Performance 3

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hours/week Prerequisites: VSAO3646 Assessment: Students are required to pass all assessment tasks. Continuous assessment (20%), examination (20%), diction recital (60%). At the end of the semester, students will perform. The objective is to demonstrate their ability to assimilate all knowledge accumulated throughout the course, and to understand the literary text with an emphasis on pronunciation and interpretation.
In this unit the students will refine the specialist language needs of singers, with the objective of students achieving a professional command of diction in all major languages of classical song repertoire. On completion of this unit students should be able to deliver a professional delivery of the text in more demanding repertoire in a fluent, accurate and expressive performance of the sung text.
VSAO4648 Diction for Performance 4

Credit points: 3 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hours/week Prerequisites: VSAO4647 Assessment: Students are required to pass all assesssment tasks. Continuous assessment (20%), examination (20%), diction recital (60%).
In this unit the students will bring together all language skills acquired during the diction program. Their command of diction in a number of languages including English, French, German, Italian and Spanish will be explored with a specific focus on the appreciation of the text-music relationship. On completion of this unit students should be able to exhibit a high level of technical and expressive competence in public performances of professional standard.
VSAO1621 Opera Diction 1

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 2 hrs German/week Assessment: Students are required to pass all assessment tasks: Continuous assessment (20%); examination (50%); diction recital (30%). Students will perform a recitative and aria demonstrating the ability to understand the literary text with an emphasis on an accurate and fluent pronunciation of the specific language.
In this unit students will concentrate on the languages specific to the needs of singers in standard classical operatic repertoire. The rules of pronunciation, including the International Phonetic Alphabet (IPA) and basic grammar will be covered in order to facilitate comprehension, translation and exploration of the word-music relationship. Throughout the unit, knowledge and skills are cumulative, and material taught is determined by the needs of individual students and the requirements of current vocal repertoire, both solo and ensemble. The coaching of arias and ensembles drawing on standard operatic repertoire performed regularly around the world is a regular feature. On completion of this unit students should be able to demonstrate knowledge of basic language skills in French, German and Italian.
VSAO1622 Opera Diction 2

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 2 hrs German/week Prerequisites: VSAO1621 Assessment: Students are required to pass all assessment tasks: Continuous assessment (20%); examination (50%); diction recital (30%). Students will perform a recitative and aria demonstrating the ability to understand the literary text with an emphasis on an accurate and fluent pronunciation of the specific language.
In this unit students will continue to develop their understanding of language specific to the needs of singers in standard classical operatic repertoire. They will focus on grammar, comprehension, translation and exploration of the word-music relationship. On completion of this unit students should be able to demonstrate knowledge of more advanced language skills and begin to perform operatic texts in a fluent, accurate and expressive manner.
VSAO2623 Opera Diction 3

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 2 hrs German, 1.5 hrs French/week Prerequisites: VSAO1622 Assessment: Students are required to pass all assessment tasks: Continuous assessment (20%); examination (40%); diction recital (40%). At the end of the semester, students will perform a recitative and aria or ensemble. The objective is to demonstrate their ability to assimilate all knowledge accumulated throughout the course, and to understand the literary text with an emphasis on pronunciation and interpretation.
In this unit students will concentrate on advancing the language skills specific to the needs of singers in standard classical operatic repertoire. The unit will cover grammar, comprehension, translation, and recitative in more detail. On completion of this unit students should be able to demonstrate knowledge of more advanced language skills and be able to perform whilst expressing the text in a fluent, accurate and expressive manner.
VSAO2624 Opera Diction 4

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 2 hrs German, 1.5 hrs French/week Prerequisites: VSAO2623 Assessment: Students are required to pass all assessment tasks: Continuous assessment (20%); examination (40%); diction recital (40%). At the end of the semester, students will perform a recitative and aria or ensemble.The objective is to demonstrate their ability to assimilate all knowledge accumulated throughout the course, and to understand the literary text with an emphasis on pronunciation and interpretation.
In this unit students will further develop their understanding of language specific to the needs of singers in standard classical operatic repertoire. They will focus on more advanced grammatical concepts of language. On completion of this unit students should be able to demonstrate knowledge of not only diction and grammar, but also interpretative skills.
VSAO3625 Opera Diction 5

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 1.5 hrs French/week Prerequisites: VSAO2624 Assessment: Students are required to pass all assesssment tasks. Seminar participation (20%), seminar presentation (20%), diction recital (60%): Students will perform a recitative and aria/ensemble. They will demonstrate their ability to assimilate all knowledge accumulated through the course, to understand the literary text with emphasis on pronunciation and interpretation.
In this unit students will refine their interpretative abilities through an awareness of the interaction of the text and music. The operatic libretto will be explored as a means to refining musical interpretation. On completion of this unit students should be able to demonstrate a fine knowledge of language in recitative, arias and ensembles in public performances.
VSAO3626 Opera Diction 6

Credit points: 6 Teacher/Coordinator: Nicole Dorigo Session: Semester 1,Semester 2 Classes: 2 hrs Italian, 1.5 hrs French/week Prerequisites: VSAO3625 Assessment: Students are required to pass all assesssment tasks. Seminar participation (20%), seminar presentation (20%), diction recital (60%): Students will perform a recitative and aria/ensemble. They will demonstrate their ability to assimilate all knowledge accumulated through the course, to understand the literary text with emphasis on pronunciation and interpretation.
In this unit, students will assimilate all knowledge accumulated throughout the language program to understand the literary text with an accurate and expressive diction and interpretation. On completion of this unit students should be able to perform in all languages covered at a level expected of a professional singer.

Orchestral Studies

The purpose of Orchestral Studies is to develop the entire range of skills which musicians must possess to prepare them to be a member of a professional orchestral ensemble. All students enrolled in Orchestral Studies must participate in two performance projects per semester. This is supported by the orchestral development program: students will receive weekly training/instruction in all aspects of orchestral playing. This includes participating in weekly repertoire sessions in the Symphony Orchestra or, in other training ensembles and groups such as the Chamber Orchestra, Wind Symphony, Early Music Ensemble, Modern Music Ensemble, Saxophone Orchestra and Brass Ensemble. Students are assigned to ensembles by audition and through unit recommendation. The objectives of Orchestral Studies are to develop: A thorough knowledge of orchestral performing styles and practices; ensemble intonation -- the ability to play precisely and rhythmically and in tune with other members of an ensemble; the ability to concentrate and play with commitment; teamwork; the ability to work with a conductor and interpret his gestures. Assessment is based on all aspects of participation in the orchestral ensemble (assessed by the ensemble director/coordinator and other involved faculty), in the weekly orchestral development classes. Assessment criteria are: level of preparation, actual performance in the ensemble, commitment, concentration, ability and teamwork. For administrative arrangements contact the Ensembles and Orchestral Coordinators.
ENSE1618 Orchestral Studies 1

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: 6 hours/ week ensemble rehearsal and performance, audition and developmental classes as scheduled by the unit. Corequisites: Principal Study 1 in an appropriate orchestral instrument. Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician
ENSE1619 Orchestral Studies 2

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: 6 hours/ week ensemble rehearsal and performance, audition and developmental classes as scheduled by the unit. Prerequisites: ENSE1618 Corequisites: Principal Study 2 in an appropriate orchestral instrument. Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician
ENSE2005 Orchestral Studies 3

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average up to 6hrs/wk - sectional classes, ensemble rehearsals and 2 public performances. Prerequisites: ENSE1619 Corequisites: Principal Study 3 in an appropriate orchestral instrument Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.
ENSE2016 Orchestral Studies 4

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average 6 hrs/wk - sectional classes, ensemble rehearsals and 2 public performances Prerequisites: ENSE2005 Corequisites: Principal Study 4 in an appropriate orchestral instrument Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.
ENSE3017 Orchestral Studies 5

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average 6 hrs/wk - sectional classes, ensemble rehearsals and 2 public performances. Prerequisites: ENSE2016 Corequisites: Principal Study 5 in an appropriate orchestral instrument. Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.
ENSE3018 Orchestral Studies 6

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average 6 hrs/wk - sectional classes, ensemble rehearsals and 2 public performances. Prerequisites: ENSE3017 Corequisites: Principal Study 6 in an appropriate orchestral instrument Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.
ENSE4021 Orchestral Studies 7

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average 6 hrs/wk - sectional classes, ensemble rehearsals and 2 public perofrmances. Prerequisites: ENSE3018 Corequisites: Principal Study 7 or PERF4610 in an appropriate orchestral instrument Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.
ENSE4022 Orchestral Studies 8

Credit points: 6 Teacher/Coordinator: Prof Imre Pallo Session: Semester 1,Semester 2 Classes: Average 6 hrs/wk - sectional classes, ensemble rehearsals and 2 public performances. Prerequisites: ENSE4021 Corequisites: Principal Study 8 or PERF4002 in an appropriate orchestral instrument Assessment: Tutor/conductor assessment based on attendance participation, performance and preparation, (100%). Further details in the Orchestral Studies & Large Ensembles Program Handbook.
In these units of study, through a wide range of repertoire, students will further develop the necessary skills for orchestral and ensemble performance, including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.

Organ Resources

ORGN1008 Organ Resources 1

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
The unit will focus on the development of essential practical skills for organists.
ORGN1009 Organ Resources 2

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN1008 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 1
Consolidation of concepts and skills introduced in Organ Resources 1.
ORGN2008 Organ Resources 3

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN1009 Organ Resources 2 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
The unit will focus on the development of essential practical skills for organists.
ORGN2009 Organ Resources 4

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN2008 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 1
Consolidation of concepts and skills introduced in Organ Resources 3.
ORGN3008 Organ Resources 5

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN2009 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
The unit will focus on the development of essential practical skills for organists.
ORGN3003 Organ Resources 6

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN3008 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 1
Consolidation of concepts and skills introduced in Organ Resources 5.
ORGN4009 Organ Resources 7

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN3003 Assessment: Essay (2000w) or prac tests (100%)
Note: Department permission required for enrolmentin the following sessions:Semester 2
The unit will focus on the development of essential practical skills for organists.
ORGN4010 Organ Resources 8

Credit points: 3 Teacher/Coordinator: Philip Swanton Session: Semester 1,Semester 2 Classes: 1hr tut/wk Prerequisites: ORGN4009 Assessment: Essay (2000w) or prac tests (100%)
Consolidation of concepts and skills introduced in Organ Resources 7.

Vocal Performance Class

VSAO1017 Vocal Performance Class 1

Credit points: 3 Teacher/Coordinator: Barry Ryan Session: Semester 1,Semester 2 Classes: 2hr tutorial/wk Assessment: 3 performances per semester; class attendance and discussion (100%).
Note: Students enrolled in Principal Study (Extended) units may not concurrently enrol in unit specific performance classes.
Classes in this series of units take the form of weekly workshops where performance skills are developed. The emphasis in this semester is the introduction of basic concert performance skills, posture, breathing and the development of communication skills. On completion of this unit students should be able to demonstrate a growing confidence in performance through reflecting on their own and their peer's work.
VSAO1018 Vocal Performance Class 2

Credit points: 3 Teacher/Coordinator: Barry Ryan Session: Semester 1,Semester 2 Classes: 2hr tutorial/wk Prerequisites: VSAO1017 Assessment: 3 performances per semester; class attendance and discussion (100%).
Note: Students enrolled in Principal Study (Extended) units may not concurrently enrol in unit specific performance classes.
This semester focuses on discussion between the connection of technique, musical and interpretative skills. Through open and appropriate discussion regarding performance development with peers, by the conclusion of the semester, students will gain necessary insights that will underpin their performance at higher levels.