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.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focuses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may occasionally be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focusses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may from time to time be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focuses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may from time to time be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focuses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may from time to time be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focuses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may from time to time be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

Musicology Workshop provides a forum for discussion of musicological work, and gives students the opportunity to present their work in a seminar format and to discuss issues and methodology with the whole group, gaining practice in presentation and feedback. It also provides a broadening of students' experience in the field through contact with the work of others including that of staff, postgraduate students, and visiting speakers when available. Occasional class projects are held in which the whole group focuses on a project such as the discussion of a recent conference or performances, musicological issues or activities, or recent literature. Workshop classes may from time to time be held at other locations for attendance of special lectures or viewing of specialist collections. Students are expected occasionally to attend other musicological activities at the Conservatorium held at different times such as Musicology Research Seminars, the Musicology Colloquium Series and the Alfred Hook Lecture Series.

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.

Listening to music performance is an everyday occurrence, yet expert listeners possess tacit knowledge about performers' sound and little is known about how they process sensory information from a performer to conceptualise, recognise and verbalise the sound they hear. This unit of study will focus on recent empirical research studies and examine the ways in which we listen to music performers by sound and sight, how we assess music performance, and how we describe the sounds we hear.

Since its beginnings around 1600, no genre of Western art music has been more innovative or influential than opera. It has inspired devotion and disdain, and led to innumerable theoretical debates. In this unit, 400 years of changing operatic practices will be explored through a series of seminal works. These will be treated as documents of specific historical circumstances (including contemporaneous singing and staging practices), and as aesthetic objects which have been reinvented continuously down to the present.

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 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.

Explore how 19th-century composers extended 18th-century chromatic routines for new expressive purposes, and discovered new compositional syntaxes in those routines. Learn new terms and graphic techniques for classifying and representing harmonic states characteristic of 19th?century music. Study systematic implications of analytical observations. Representation of analytical interpretations using economical and focused prose. Intensive study of compositions by Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Liszt, Brahms, Wagner.

Students will learn about, discuss and play different musical forms from East Asia ¿ ranging from ancient guqin music to contemporary K-Pop. They will develop an understanding of key aesthetic concepts, musical instruments and musical features of the music cultures in this region. Students will be encouraged to develop awareness of the diversity of East Asian musics and cultures, and of music's interrelation with and great significance to East Asian societies both in the past and today.

This unit is open to all students who want to go beyond the overview gained in survey courses and investigate baroque music topics of their own choice in more depth. The course emphasises student participation and individual exploration. Students choose their own readings, using primary and secondary sources ranging from 17th and 18th-century treatises, manuscripts and other documents, to the latest critical writing by international scholars. Essay topics can cover any aspect of baroque music, for example performance practice, aesthetics, instruments, or studies of the music of particular composers, genres or places. Students can choose to share their findings either in a conventional class presentation or in a lecture-demonstration / performance.

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. 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-century vocal polyphony with examples likely to include music by Dufay, Ockeghem and Byrd; French and Italian lute tablatures; and German keyboard tablatures. Understanding the notations studied forms the main emphasis of this course, and students learn to transcribe from the original notations into modern musical notation. In addition, change and usage of notation, and scribal method will also be studied.

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.

Since the early 20th century, the period c.1750-1830 has been associated with the idea of Classicism in European music, but it was also a period of rapid development and transformation in both music and society. This unit offers an in-depth examination of core repertoire by Haydn, Mozart, Beethoven, Schubert and their contemporaries in this historical context, and provides an opportunity to explore topics that will deepen and extend students' understanding of this highly significant period. Participants will explore important repertoire, become acquainted with scholarly and performance issues associated with the style by studying a selection of critical writings about the period, and choose one topic to research in depth.

Between 1889 and 1914, certain Austro-Germanic composers played a crucial role in the emerging modernist movement. Richard Strauss, Mahler and Schoenberg engaged with past musical traditions and contemporary trends in visual art, literature and philosophy to produce a distinctively new type of music. Works to be studied include Strauss's tone poems, Mahler's symphonies and Schoenberg's chamber music, as well as Lieder and stage works. Among the issues which will be explored are the way in which traditional formal structures were invoked and destabilised, the changes the musical language underwent and how music was conceptualized in this era of change and crisis

This unit of study will enhance the students musical knowledge and learning through placement in a professional practice context within an arts sector environment. An Internship is a system of on-the-job training and as such, this unit of study will seek and select the most appropriate places for students to gain valuable experience and training in the Arts industry. These places may and will change from time to time and according to the students' interests and expertise and the availability of suitable hosts.

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 in response to social change with a special focus on times of crisis and upheaval.

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 the ways 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.

This unit focuses not just on music but also on 'noise' and sounds both natural and man-made. By means of in-class experiments, field trips and 'audio diaries', students will explore the nature of sound; by means of lectures, readings and discussion, they will examine the many ways in which human beings engage - negatively as well as positively - with the sonic world around them.

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.

How did early American blues and country music develop in tandem? How was punk different in the US, the UK and Australia? What are the origins of the DJ culture? This unit of study presents a thematic overview of a wide variety of styles, movements and spectacles. It examines major genres of popular music, their stylistic features and historical antecedents as well as modes of reception and the role of popular music in everyday life. No formal music training is necessary.

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.

This unit of study includes a practical component in which participants will be actively involved in the administration and management of music and arts events. They will learn the procedures and protocols necessary for a smooth behind-the-scenes operation of music event presentation through their own involvement as well as examination of best practice event management nationally and internationally.

This Unit considers music as intrinsically spiritual and spirituality as intrinsically musical. It studies a diverse array of music written and performed in response to spiritual traditions including some of the main religions of Christianity, Buddhism, Hinduism, Judaism and Islam, as well as Earth-based religions such as Australian Indigenous traditions. It also considers music as a healing and therapeutic art. Listening will provide the main framework for study.

This unit of study offers students a comprehensive understanding of interrelations and convergences between music and politics from a variety of musical genres and political circumstances. Students will be introduced to theoretical models for examining the social agency of musical expression, they will analyse the politics of convention and innovation within musical traditions, and examine musical dialogues that have reflected and influenced momentous social and political movements. No formal musical training necessary.

This unit of study focuses on sources of the 'world music' genre; surveying such regions as the Arab world, Aboriginal Australia, Indonesia, south and east Asia, the Arctic regions, North and South America and sub-Saharan Africa. It examines the music of these non-Western cultures and also the function of that music within society. The ability to read music notation is not required.

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.

Latin American music has become a powerful force in today's music industry, but its rich diversity and cultural contexts are not always known or acknowledged. This unique unit of study surveys a number of Latin American popular, folk and indigenous musical traditions in terms of their cultural milieu and historical development. These include Afro-Cuban traditions, samba, salsa, tango and Andean music. Various musical, historical and cultural concerns are examined alongside a practical and creative involvement with 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.

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.

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 the ways 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.