This unit is designed to equip students with a working knowledge of current music theory and analysis practice, impart analytical skills that can be applied across a broad spectrum of activities and different musical genres and types, and develop an understanding of related concepts such as what analysis actually is, different types of analysis (functional, descriptive, surface, aural/perceptual vs. score based) and an understanding of working at different levels of abstraction.

Music Business Skills is designed to prepare graduating students for the non-musical aspects of their forthcoming career. The unit is designed as an overview of the many different facets of the music industry, including setting up a small music business (including GST/taxation overview and responsibilities), funding sources and alternatives, tour planning and budgeting, producing and designing promotional tools, dealing with record company's/music publishing, and other essential techniques and requirements of running a successful music business in today's competitive arts environment.

Students in this unit will observe in detail a selection of Western musical styles and the work of particular composers, applying the knowledge thus gained by writing short compositions in the relevant styles. For the student with some creative inclinations, the activity of stylistic imitation offers unique insights into the music of any period. Topics for study will be selected according to the interests of the group, taking into account the need for a coherent and cumulative course structure.

Chant was integral to early Christian practices in the western Roman Empire. Following its long history in medieval and later churches, chant from western European repertoires continues to be sung and appreciated today. This course studies aspects of its history and analysis, and introduces the research field of chant and its sources. Students will develop an appreciation of challenges met by performers and researchers working with chant. A class project will enter directly into the world of contemporary chant research.

The aim of the unit is to examine the changes in the last 12 years of Beethoven's creative output, and discuss these in terms of a transition between what are traditionally called 'classic' and 'romantic' periods. This will be done through analysis, and the discussion of historico/critical surveys, aesthetics and contemporary sources. Themes covered will include: Classicism/Romanticism. the compositional process. Beethoven and the fugue in the late style. Variations as transformations. The late quartets. The last 5 Piano Sonatas. Missa Solemnis. The 9th Symphony. Reception of Beethoven's late works.

Paleography of Music introduces principles and issues of some different types of western musical notation in use during the medieval and Renaissance periods, and contributes to the development of an understanding of original sources of music of these eras. Through studying original notations and sources, students can develop an understanding of the characteristics and problems of medieval and renaissance musical repertories not otherwise available. Students will transcribe from the original notations studied into modern musical notation. Among the notations to be studied are several chant notations including that of the musical sources of Hildegard of Bingen; white mensural notation as used in sources of fifteenth and sixteenth vocal polyphony with examples likely to include music by Dufay, Ockeghem and Byrd; French and Italian lute tablatures; and German keyboard tablatures.

This unit will explore the fantastic as a central aspect of romanticism in its various manifestations, including the uncanny, the daemonic and the playful. In music, this meshes fruitfully with the older tradition of the fantasy, a genre which is similarly dependent on the imagination and the evasion of clear boundaries. A range of Lieder, operas, symphonic and solo instrumental works by composers such as Schumann, Berlioz, Liszt, Mendelssohn and Schubert will be studied against the backdrop of literary and artistic innovations by Goethe, Hoffmann, Byron, and Friedrich. Theories of the fantastic by Todorov, Freud and others will also be examined.

The New German School was a controversial term coined in 1859 to legitimise the self-consciously progressive art of figures such as Wagner and Liszt. This course explores the music and aesthetic theories of these two composers against the backdrop of contemporary debates and reception politics. Their personal relationship will also be scrutinized in detail. Works to be studied include selections from Liszt's symphonic poems and piano works, Wagner's Tristan, Die Meistersinger and Ring tetralogy.

This unit aims to provide students with a framework for analysing African-American musical products. An historical survey of research into African-American performance is followed by a discussion of current critical debates and scholarship. Students will apply existing theoretical models to the analysis of jazz, funk and hip-hop works. In turn, they will develop original research methodologies for the analysis of an African-American expressive work of their choice.

This unit enables students to explore topics that will deepen and extend their understanding of the style, repertoire and performance traditions of the classical era, c.1770-1830 and particularly the music of Haydn, Mozart, Beethoven and Schubert. Participants will explore important repertoire, research one topic in depth, engage with the research of other class members, and study a selection of critical writings about the classical period. Specific topics will be negotiated early in the semester based on students' scholarly and instrumental specialities.

This unit will study a range of today's popular classics with a view to understanding how musical meaning is constructed in relation to the development of tonality and other European stylistic conventions from the Ancient Greeks to the present day. It will consider questions about how the Western art music tradition has been constructed through history. What are the social factors at work? How does music reflect the minds of its creators and create meaning?

Music has been dramatically shaped and reshaped by every major change in communications technology in the 20th century from vinyl discs to MP3s. In this unit of study we will analyse such issues as the ways in which the early recording industry transformed jazz, the blues and country music, how the presentation of music on radio and television changed how the music industry created new musical celebrities, and the challenges the music industry faces as digital technology transforms the creation, distribution and consumption of music.

What can we learn from non-textual approaches to understanding music? The primary goal of this unit of study is to study music not as a composer, producer, performer, listener or audience member, but as an ethnographer. That is, analysing music through an observational, experiential and intellectual understanding of how people make and take meaning from music. This unit is a prerequisite for MUSC4011 Music Honours A (for BA Hons in Music).

This unit of study looks at how Australian music reflects, and to some extent, shapes our national identity. How does Australia sound itself as a nation? What stories about ourselves does our music tell? What are the characteristics of Australian music that are different and unique? How does our music situate Australia in a globalised community? Some indigenous music as well as well as music by non-indigenous composers will be studied.

This unit is an introductory survey of the history and aesthetics of film music from the late 1890s to the present day. Topics for discussion will include the dramatic function of music as an element of cinematic narrative, the codification of musical iconography in cinematic genres, the symbolic use of pre-existing music, and the evolving musical styles of film composers.

The range of media channels through which we experience popular music has proliferated in recent years. The emotive power of music is used to tell stories, sell products and connect people to one another. This unit of study will analyse the use of popular music in a broad range of multimedia forms from film and television to video games and the use of digital media to disseminate a multitude of musical multimedia productions.

How did the music of enslaved and marginalised people eventually become a dominant force in contemporary popular culture? This unit will examine the local reinvention of a wide variety of African American music in communities around the world. From soul and funk in West Africa to ska and reggae in the Caribbean, we will examine how music moves around the world and within local communities to make new forms of meaning.

This 'survey' unit of study presents a diverse range of music, written and performed as a response to spiritual traditions, using the methods of depth psychology. The survey will include examples of music created in response to Christianity, Buddhism, Hinduism, Judaism and Islam, as well as Earth-based religions such as Australian Indigenous traditions. The focus will be upon the music rather than religion. Listening will provide the main framework for study.

What do we study when we study music? What kinds of stories do we tell about the history of music? What are the central issues, questions, and concerns that drive the study of music? This unit of study will begin to answer these questions and provide an overview of historical musicology as an academic discipline. In addition, students will also learn and practice the research skills necessary to find and evaluate sources, and to define and develop an area of interest. These skills will provide a solid foundation for the independent research work necessary in the Honours year.

Even as the 'Age of Newspapers' seems to be coming to an end, human beings' need for authoritative commentary on music remains as strong as ever. Along with surveying the history of music journalism from the early eighteenth century up to the present day, this unit of study offers participants the chance to try their hands at various forms of music journalism.

Latin American music has become a powerful force in today's music industry, but its rich diversity and cultural contexts are not always acknowledged. This unit of study surveys a number of Latin American popular, folk and indigenous musical traditions in terms of their cultural milieu and historical development. Various musical, historical and cultural concerns are examined with a practical and creative involvement with these styles. Particular emphasis will be placed on the compositional characteristics and the repertoire pertinent to these traditions.

This unit of study deals with the different ways in which we comprehend music and with the different ways in which that comprehension might be explained. It deals with modes of hearing and musical analysis for the purpose of leading students towards a deeper knowledge of how music in various genres (ranging from the classical mainstream to the twentieth-century avant-garde, from Tin Pan Alley songs to punk rock and hip-hop) is understood. A good working knowledge of musical terminology and vocabulary is required. This is the required unit of study for a music major in an Arts degree.