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 and the invention of music education, 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, sonata and concerto. 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.

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.

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, Schoenberg, Strauss, Stravinsky, Stockhausen and Webern.

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).

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.

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.

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.

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.

The aim of this Unit of Study is to enable the student to identify and understand the various key concepts found within jazz creative practice. Musical elements such as form, content, language and style utilized by jazz artists will be examined using techniques derived from chord/scale theory, taxonomy, set theory and musical semiotics. The Unit of Study will also explore elements such as aesthetics, context, ideology, and discourse with special attention being given to modernist and postmodernist tendencies, critical theory and linguistics.

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.