Music

Music

Music

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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
CMPN1010 Creative Vocal Ensemble

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 2 Classes: 1 x 2 hr seminar per week; Public concert of completed vocal ensemble compositions; Extra rehearsal time outside class in preparation for class concert; composition time (2 hours per week); score study and listening (1 hour per week). Assessment: Composition for vocal ensemble (40%); Performance and rehearsal (30%); Professional participation (15%); Two short composition (15%) Mode of delivery: Normal (lecture/lab/tutorial) day
Music for the voice is found across a range of styles from the ancient sounds of plainsong through to the music of Icelandic pop star, Bjork. Creative Vocal Ensemble provides the opportunity to workshop new compositions for groups of voices. Students analyse compositions from an eclectic range of styles that are covered in lecture/seminars in order to inform the creation of new works. Students taking this course will comprise a 'resident ensemble' in which the studied works may lead to the creation of new musical languages in student compositions.
CMPN1611 Instrumentation and Orchestration

Credit points: 6 Teacher/Coordinator: Carl Vine Session: Semester 1 Classes: 2 hour seminar/wk Assessment: Short orchestration exercises (45%), score analysis presentation (25%), Large ensemble arrangement (30%). Mode of delivery: Normal (lecture/lab/tutorial) day
Instrumentation and Orchestration enhances students' knowledge of the key instruments of the modern orchestra. The study of instrumentation assists in comprehending the technical limitations and creative potential of the main instrumental families of the orchestra. The unit examines a wide range of instrumental combinations in diverse music styles, and will enhance students' understanding of proper score layout, aural analysis of orchestral excerpts and visual analysis of complex scores. Additional content will include limited study of acoustics and timbre perception, arranging and transcribing as well as notational standards and conventions.
CMPN1612 New Music, New Thinking

Credit points: 6 Teacher/Coordinator: Dr Damien Ricketson Session: Semester 2 Classes: 2 hour seminar/wk Assessment: Two assignments (2x50%) comprising an analytical essay and a composition exercise or performance project. Mode of delivery: Normal (lecture/lab/tutorial) day
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.
CMPN1631 Electroacoustic Music

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: One 2 hr lab/studio class/wk Prerequisites: MUED1002 or MUSC2653 Assessment: Composition demonstrating electroacoustic techniques (40%), acousmatic composition in surround sound (60%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will explore current techniques in electroacoustic composition. Electronic music composers have been "diffusing" stereo works in surround spaces for many years. This unit of study explores composing for a surround space, and investigates writing multichannel electroacoustic works. 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 Computer Music Fundamentals

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2 hr lect/wk, 1 hr lab class. Prerequisites: MUED1002 or MUSC2653 Assessment: 2 programming assignments (2x25%), final project (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
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, 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.
CMPN2006 Sound Recording Fundamentals

Credit points: 3 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: 2hr studio class/wk Assessment: Live Stereo Recording (40%), Solo Studio Recording (40%), Online Exam (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
CMPN2007 Sound Recording Advanced

Credit points: 3 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2hr studio class/wk Prerequisites: CMPN2006 Assessment: Class Attendance and Participation (10%), Recording Project 1 (35%), Recording Project 2 (35%), Online Exam (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit follows on from Sound Recording Fundamentals with an in-depth look at frequency-based aural training and its application in the use of equalisation in the recording and mixdown process. Additional topics including frequency response, dynamic range, phase relationships in audio systems, effects processors and analysis of audio mixdowns/mixing techniques will also be discussed.
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%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Strong music theory and notation skills are essential in this unit of study
This unit of study 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 techniques 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Strong music theory and notation skills are essential in this unit of study
This unit of study 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.
CMPN2633 Computer Music Advanced

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: 2 hr lect/wk, 1 hr lab class. Prerequisites: CMPN1632 Assessment: 2 programming assignments (2x25%), final project (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
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 current software applications. Students will explore the means by which sound is produced with computers to extend the creative possibilities of digital signal processing.
CMPN3634 Interactive Media and Sound Installations

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2 hr lect/wk Prerequisites: CMPN1632 Assessment: Creative projects (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will focus on electronic music composition involving new paradigms brought about by real-time performance, installations, network technology, human computer interaction, gestural control and integration with visual arts and video animations. This unit of study will also investigate the available literature on topics such as multimedia, interactive and installation work in the context of contemporary sound art practice.
CMPN3635 Writing Music for the Moving Image

Credit points: 6 Teacher/Coordinator: Dr Felicity Wilcox Session: Semester 1 Classes: 6 x 1 hour lectures for the first six weeks; 6 x 2 hour tutorials thereafter Prerequisites: MUED1002 or MUSC2653 or MUED4002 Assessment: Written paper (20%), Presentation (30%), Final Music (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit provides a practical introduction to composing music for the screen.
Topics for discussion will include, but not be limited to: the relationship between image and sound, music as a force in dramatic narrative, important scores in cinema history, sound design, music for documentary film and drama, music for games, and non-commercial applications of music for image. Importantly, the course will focus on the practical aspects of film scoring relevant to establishing professional practice; both at a business level and at a technical level. Students in this unit of study must be fluent in sequencing and/or recording and/or music notation software.
CMPN4666 Advanced Analysis

Credit points: 6 Teacher/Coordinator: Dr Damien Ricketson Session: Semester 1 Classes: 1 x 2 hr seminar/lecture per week Prerequisites: MCGY4601 Assessment: Class presentation (1000 words) (15%), Composition analysis (20%), Weekly readings reports (15%), Research Project (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
ENSE1002 Choir 2

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE1015 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE1015 Choir 1

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE1019 Choir 3

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE1002 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE1601 Chamber Choir 1

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE1602 Chamber Choir 2

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE2008 Choir 5

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE2003 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE2012 Choir 7

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE3016 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE2603 Chamber Choir 3

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE2604 Chamber Choir 4

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE3016 Choir 6

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE2008 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
ENSE3605 Chamber Choir 5

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE3606 Chamber Choir 6

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE4607 Chamber Choir 7

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE4608 Chamber Choir 8

Credit points: 6 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances. (100%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition required for entry in first week of each semester.
Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.
ENSE4020 Choir 8

Credit points: 3 Teacher/Coordinator: Dr Neil McEwan Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE2012 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).
JAZZ1000 Jazz Large Ensemble 1

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction. Enrolment is subject to audition.
JAZZ1001 Jazz Large Ensemble 2

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ1000 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ1015 Jazz Ear Training 1

Credit points: 3 Teacher/Coordinator: Matt McMahon Session: Semester 1 Classes: 2hr tut/wk Assessment: Two tests (2x20%), one 2 hour exam (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit 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.
JAZZ1016 Jazz Ear Training 2

Credit points: 3 Teacher/Coordinator: Matt McMahon Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ1015 Assessment: Two tests (2x20%), one 2 hour exam (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1, plus introducing compound intervals, open voicings, the addition of all upper extensions to all chord types, and increasingly complex harmonic structures.
JAZZ1019 Jazz Harmony and Arranging 1

Credit points: 3 Teacher/Coordinator: Evan Lohning Session: Semester 1 Classes: 2hr tut/wk Assessment: Written harmony test (30%), approved number of arrangements (70%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
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 will learn to understand and use basic harmonic rules and the typical harmonic devices, diatonic progression and chord patterns with a view to generating a creative sense of jazz harmony and the ability to write small combo arrangements. Legibility in copying is an assessable aspect. The harmonic techniques explored in this unit are used as the theoretical basis for Jazz Improvisation
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"
JAZZ1020 Jazz Harmony and Arranging 2

Credit points: 3 Teacher/Coordinator: Evan Lohning Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ1019 Assessment: Written harmony test (30%), approved number of arrangements (70%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
In this unit 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 are used as the theoretical basis for Jazz Improvisation.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"
JAZZ1025 Jazz Piano 1

Credit points: 3 Teacher/Coordinator: Julie Spithill Session: Semester 1 Classes: 1hr tut/wk Assessment: 15min technical exam (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz majors.
This streamed class is available to all Conservatorium students (but not jazz majors) as a free choice. The course will focus on basic keyboard technique as well as jazz chord progressions and voicings in small classes with students of like abilities. Students are assessed on their rate of progress by demonstrating successful completion of pieces and exercises. At the end of year examinations, students are required to demonstrate scales, chords, voicings, bass lines and comping.
JAZZ1026 Jazz Piano 2

Credit points: 3 Teacher/Coordinator: Julie Spithill Session: Semester 2 Classes: 1hr tut/wk Prerequisites: JAZZ1025 Assessment: 15min technical exam (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz majors.
Consolidation and development of concepts and skills introduced in Jazz Piano 1.
JAZZ2002 Jazz Large Ensemble 3

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ1001 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ2003 Jazz Large Ensemble 4

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ2002 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ2016 Jazz Harmony and Arranging 3

Credit points: 3 Teacher/Coordinator: Evan Lohning Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1020 Assessment: Approved number of arrangements and compositions (70%), written harmony test (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit concentrates on more complex harmonic material that forms the basis for Jazz Improvisation, 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 learn big band orchestration which includes 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.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"
JAZZ2017 Jazz Harmony and Arranging 4

Credit points: 3 Teacher/Coordinator: Evan Lohning Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2016 Assessment: Approved number of arrangements and compositions (70%), written harmony test (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
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, extended instrumental effects and textural voicings. This subject also deals with the harmonic concepts used in Jazz Improvisation.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"
JAZZ2022 Jazz Piano 3

Credit points: 3 Teacher/Coordinator: Julie Spithill Session: Semester 1 Classes: 1hr tut/wk Prerequisites: JAZZ1026 Assessment: 15 min technical exam (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz majors.
Consolidation and further development of concepts and skills introduced in Jazz Piano 2.
JAZZ2023 Jazz Piano 4

Credit points: 3 Teacher/Coordinator: Julie Spithill Session: Semester 2 Classes: 1hr tut/wk Prerequisites: JAZZ2022 Assessment: 15 min technical exam (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz majors.
Consolidation and further development of concepts and skills introduced in Jazz Piano 3.
JAZZ2030 Jazz Vocal Workshop 1

Credit points: 3 Teacher/Coordinator: Judy Bailey Session: Semester 1 Classes: 2hr tut/wk Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during classes (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
This course aims to help students develop their skills with listening, part-singing (SATB), pitch awareness, intervallic accuracy, internal balance, use of dynamics, breathing, posture, general musicianship and performance.
JAZZ2031 Jazz Vocal Workshop 2

Credit points: 3 Teacher/Coordinator: Judy Bailey Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2030 Assessment: A final grade will be compiled from continual assessment of professional demeanour, improvisational and ensemble skills demonstrated during classes (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Consolidation and development of content introduced in Jazz Vocal Workshop 1.
JAZZ2038 Jazz Ear Training 3

Credit points: 3 Teacher/Coordinator: Matt McMahon Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1016 Assessment: Two tests (2x20%), one 2 hour examination (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1 and 2, plus introducing advanced chord types, and increasingly complex harmonic structures.
JAZZ2039 Jazz Ear Training 4

Credit points: 3 Teacher/Coordinator: Matt McMahon Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2038 Assessment: Two tests (2x20%),one 2 hour examination (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students
This unit consolidates all concepts from Jazz Ear Training 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.
JAZZ3002 Jazz Large Ensemble 5

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ2003 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ3003 Jazz Large Ensemble 6

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ3002 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ4002 Jazz Large Ensemble 7

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ3003 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
JAZZ4003 Jazz Large Ensemble 8

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1,Semester 2 Classes: 2hr Elective Jazz Orchestra or 3hr Big Band class Prerequisites: JAZZ4002 Assessment: A final grade will be compiled from continual assessment of professional demeanour and ensemble skills demonstrated during rehearsals and performances (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: These units are only available to non-jazz students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Chair of Unit for day and time.
This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.
MCGY1000 Aural Perception 1

Credit points: 3 Teacher/Coordinator: Dr Christopher Coady Session: Semester 1 Classes: One 1hr Lab and one 1hr Solfege tut/wk 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Completion of a Music Skills Test is essential prior to commencement. Conservatorium of Music students who did not do the test during the audition period and non-Conservatorium of Music Students should contact the unit of study coordinator before the start of semester.
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: Dr Christopher Coady Session: Semester 1 Classes: One 1hr lab and one 1hr Solfege tut/wk Assessment: Weekly Lab tests (25%); weekly Lab assignments (15%); Solfege tutorial assessment (15%); 1hr Lab examination (25%); 5 min Solfege examination (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Completion of a Music Skills Test is essential prior to commencement. Conservatorium of Music students who did not do the test during the audition period and non-Conservatorium of Music Students should contact the unit of study coordinator before the start of semester.
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: Dr 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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: Dr 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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)
MCGY1008 Harmony and Analysis 1

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 1 Classes: 1 lecture,1 tutorial/wk Prohibitions: MUSC2699 Assumed knowledge: Ability to read musical notation including treble and bass clefs, and knowledge of scales, intervals and triads in tonal music. Assessment: Assignments (40%), examination (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Completion of a Music Skills Test is essential prior to commencement. Conservatorium of Music students who did not do the test during the audition period and non-Conservatorium of Music Students should contact the unit of study coordinator before the start of semester.
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%) Mode of delivery: Normal (lecture/lab/tutorial) day
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
MCGY2004 Aural Perception 3

Credit points: 3 Teacher/Coordinator: Dr 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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: Dr 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%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
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%) Mode of delivery: Normal (lecture/lab/tutorial) day
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 1,Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY2010 Assessment: Assignments (50%), examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY2600 Advanced Harmony - Departmental permission is required for this unit

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: One 2-hour seminar/wk Prerequisites: MCGY2011 Prohibitions: MCGY2000 or MCGY2001 Assessment: Four 25-bar musical assignments (75%); 30 minute seminar presentation (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
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.
MCGY2601 Perception of Music Performance

Credit points: 6 Teacher/Coordinator: Dr Helen Mitchell Session: Semester 2 Classes: 2hr Seminar per week Prerequisites: 48 credit points of units Assessment: Class participation in performances and discussions (10%); Poster presentation (30%); Development of a pilot study topic (20%); Written report (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
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 Prohibitions: MCGY1013 or MCGY1014 Assumed knowledge: Ability to read musical notation Assessment: Tutorial assignments (20%), essay (40%), exam (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, history and culture studies.
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 notation, we investigate a wide range of genres, and styles, developments in musical instruments, and innovations of the Medieval, Renaissance and Baroque eras, as well as innovations including the development of music printing, developments in musical instruments, and the emergence of opera, sonata and concerto. Among Musical works for analysis and discussion are include 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 2-hour lecture and one 1-hour tut/week Prohibitions: MCGY3012 or MCGY2013 Assumed knowledge: Ability to read musical notation Assessment: Essay (30%); Tutorial assignments and participation (20%); In-Class tests (20%); 2-hour exam (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, history and culture studies.
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 Prohibitions: MCGY2008 or MCGY2009 Assumed knowledge: Ability to read musical notation Assessment: 1500 word essay (40%), mid-semester test (20%), 2 hr exam (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, history and culture studies.
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.
Textbooks
Griffiths P, Modern music and after, Oxford : Oxford University Press, 2011
MCGY2614 Musical Worlds of Today

Credit points: 6 Teacher/Coordinator: Rachel Campbell Session: Semester 1 Classes: 2hr lecture and 1hr tut/week Assessment: 2000 word essay (40%), 1 tutorial report (20%), tutorial participation (20%), Listening test (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, history and culture studies.
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, Melanesia) and Australian Music (place and identity, from colonialism to the present day).
Textbooks
Weekly readings from a range of disciplines, available on eReserve
MCGY3601 Analysis of Nineteenth-Century Music

Credit points: 6 Teacher/Coordinator: Professor Richard Cohn Session: Semester 2 Classes: 1 x 2 hour lecture Prerequisites: MCGY2011 Assessment: 6 x Bi-Weekly Papers (15% each); In class Participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3610 Chant in the West

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: A/Prof Kathleen Nelson Session: Semester 2 Classes: One 2 hr seminar/Week Prerequisites: MCGY2611 Assessment: Class research project activity and report (30%), Report on set reading and discussion 800 words (10%), Seminar presentation on essay topic (20%), Essay 2500 words (40%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
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.
MCGY3013 Late Beethoven Seminar

This unit of study is not available in 2016

Credit points: 3 Teacher/Coordinator: A/Prof Peter McCallum Session: Semester 2 Classes: One 2-hour seminar/wk Prerequisites: MCGY2612 Assumed knowledge: MCGY2612 Assessment: assignment, presentation, project and participation as specified in the course outline (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3627 Paleography of Music

Credit points: 6 Session: Semester 1 Assessment: Assignments and in-class assessments (50%); 2-hour examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3629 Romanticism and the Fantastic - Departmental permission is required for this unit

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 1 Classes: One 2-hour seminar/wk Prerequisites: MCGY2612 Prohibitions: MCGY3029 or MCGY3037 Assessment: Essay (30%); Listening test (20%); Analysis assignment (20%); In-class presentation (20%); Seminar participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Assumed knowledge: It is expected that students will have some knowledge of harmonic and formal practices up to 1850.
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.
MCGY3630 New Germans: Wagner and Liszt 1848-76

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 2 Classes: One 1-hour lecture and one 2-hour seminar/wk Prerequisites: MCGY2612 Assumed knowledge: It is expected that students will have some knowledge of harmonic and formal practices up to 1850. Assessment: Essay (40%); Listening tests (20%); In-class presentation (25%); Seminar participation (15%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3631 African-American Music Inquiry

Credit points: 6 Teacher/Coordinator: Dr Christopher Coady Session: Semester 1 Classes: One 2 hr seminar/week Assessment: Essay 3000 words (50%), Tut presentation 2000 wds (30%), Tutorial participation and demonstrated knowledge of required reading (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3639 Modernism in Austria and Germany 1889-1914

Credit points: 6 Session: Semester 1 Mode of delivery: Normal (lecture/lab/tutorial) day
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
MUED1009 Psychology of Learning and Instruction

Credit points: 3 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 2 Classes: 1 x 2 hour workshop/week Assessment: Collaborative Learning task (20%), Essay 1000 wds (30%), Group tutorial presentation (15%), Lesson plan and analysis Quiz (25%), ePortfolio task (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
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 research and understandings of psychology relevant to educational settings.
MUED2301 Music Learning Through Community Service

This unit of study is not available in 2016

Credit points: 3 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 1 Classes: 6 x 2 hr workshops plus 6 x 2 hours/week in schools Assessment: Written Report and ePortfolio task 1,500 words (50%), Presentation 1,500 words (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
In this unit of study students apply their musical knowledge to the broader community of music learners as they engage in specifically designed music programs for low socioeconomic (SES) and disadvantaged students in schools and other community based settings in Sydney. Students will: critically examine widely held perceptions about people from low-SES backgrounds and disadvantaged backgrounds; develop an understanding of the musical needs of learners with limited access to musical knowledge; demonstrate basic skills in musical instruction in relation to school aged learners; apply musical knowledge to low-SES and disadvantaged school and community learners; understand and be sensitive to issues of cultural and social diversity; contribute to service provision in collaboration with schools and the broader community; communicate musical knowledge effectively to school aged students. Students will develop a project involving creative, practical music making among students in identified schools and organisations in the local community.
MUSC1501 Extended Fundamentals of Music

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson Session: Semester 1 Classes: 1hr lecture and 2 x 1hr tutorials (aural & written)/wk Prohibitions: MUSC1000 or MUSC1001 or MUSC1002 or MUSC1003 or MUSC1004 or MUSC1005 or MUSC1503 or MUSC1504 or MUSC2693 or MUSC2699 or MCGY1008 Assumed knowledge: (MUSC1503 and MUSC1504), or HSC Music 2 Assessment: Written and online music theory assessment (70%), aural assessment (30%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students will take a diagnostic in Week 1 of semester to ensure they have the required level of music theory and aural skills.
Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of Western and Non-Western musical styles, from classical music to film music to noise.
MUSC1503 Fundamentals of Music 1

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson, Dr Daniel Rojas Session: Semester 1,Semester 2 Classes: 1hr lecture and 2x 1hr tutorials (aural and written)/wk Prohibitions: MUSC1000 or MUSC1001 or MUSC1002 or MUSC1003 or MUSC1004 or MUSC1005 or MUSC1501 or MUSC1502 or MUSC2699 or MCGY1008 Assessment: Written and online music theory assessment (60%), aural assessment (30%), attendance and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
An introduction to basic music literacy skills, including learning to read and write music, and an understanding of fundamental aspects of its structure and composition. The material covered in this unit of study concentrates upon the basics of music theory and listening to ensure that participants have a solid grounding for a firm understanding of music notation and organisation.
MUSC1504 Fundamentals of Music 2

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson, Dr Daniel Rojas Session: Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural & written)/wk Prohibitions: MUSC1501 or MUSC1502 or MUSC1000 or MUSC1001 or MUSC1002 or MUSC1003 or MUSC1004 or MUSC1005 or MUSC2699 Assumed knowledge: MUSC1503 Assessment: Written and online music theory assessment (60%), aural assessment (30%), attendance and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
A more advanced exploration of music literacy skills. The material covered in this course ranges from the broad to the specific: from an examination of musical elements and the way they are used in a variety of musical genres through to specific compositional aspects such as four-part writing or analysis of melodic writing across musical cultures. Listening skills are developed in this unit of study.
MUSC1506 Music in Western Culture

Credit points: 6 Teacher/Coordinator: Prof Anne Boyd Session: Semester 1 Classes: 2hr lecture and 1 hr tut/wk Prohibitions: MUSC1000 or MUSC1001 or MUSC1502 Assumed knowledge: The ability to follow a musical score while listening to the music and some prior knowledge of elementary music theory. Assessment: Tutorial work including a Listening Journal (50%), 2000 word essay (30%), 60 minute listening exam (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC1507 Sounds, Screens, Speakers: Music and Media

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 2 Classes: 2hr lecture and 1 tut/wk Prohibitions: MUSC1000 or MUSC1001 or MUSC1502 Assessment: Article summary, 1000 words (25%); Critical analysis, 1000 words (25%); Tutorial test, 500 words (10%); Final Project, 2,000 words(30%), attendance and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2612 Music Performance

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 1 Classes: 3 contact hours/wk Prerequisites: 18 Junior credit points Prohibitions: MUSC2012 Assessment: 50 minutes of performance throughout semester (50%); participation and contribution during course and final public concert (20%); seminar presentation (15%); researched critical/programme notes (1200 words) (15%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Audition Requirements: 2 contrasting pieces (or excerpts) totalling 6 minutes and a brief interview.
This unit of study offers an integrated approach to live music performance that includes practical and research components. Students participate in solo and ensemble situations in weekly in-class concerts. Constructive feedback by peers is a significant part of this course and participants trace their own development in weekly reflective journals. Music of all genres (including classical, experimental, popular, jazz and world music), instruments and voice types are accepted, and collaboration across musical traditions is strongly encouraged. A number of seminars dealing with specific key issues are interspersed throughout this unit of study, including performance stress, technical and psychological preparation, ensemble communication and audience perception. Auditions are held during 'O Week' and Week 1 of semester. Please contact the Arts Music Unit Student Administration office on 9351 2923 for further information.
MUSC2613 Music Ensembles Performance

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 2 Classes: 2 hr workshop and 1 x 1hr tutorial/wk Prerequisites: Music Performance MUSC2612, or written permission by the Arts Music Unit Prohibitions: MUSC2013 Assessment: Ensemble performances (50%); seminar presentation (20%); media release/programme note/review of a performance (10%); participation and contribution (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
Ensemble Performance builds on the experience and skills cultivated in Music Performance. Students participate regularly in weekly rehearsal-workshops where ideas are tried out with the participation of peers and the Unit of Study coordinator. Students participate in various ensembles of different sizes, collaborating in a multiplicity of musical genres. This is a highly practical and challenging subject that encourages students to collaborate in a supportive and productive environment. Ensemble Performance culminates with a large-scale public performance in a public venue.
MUSC2614 Composition Workshop

Credit points: 6 Teacher/Coordinator: Prof Anne Boyd Session: Semester 1 Classes: 3 hr workshop/wk Prerequisites: 18 Junior credit points Assessment: Contribution in classes and concerts (20%), composition portfolio and process diary (70%), aural and/or written presentations (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
An opportunity to create a new composition in a supported environment. Students will hear their works rehearsed and performed, usually by other participating students. The outcome is a performance in a public concert at the end of the semester. The workshops may be themed around particular genres and musical techniques such as music theatre, drone-based composition, song-writing, sound and rhythm, creating a sound space and media composition.
MUSC2616 Noise/Sound/Music: Engaging Sonic Worlds

Credit points: 6 Session: Semester 1 Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2622 Music in the Sixties

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 2 Classes: 2 hrs/week Prerequisites: 18 Junior credit points Prohibitions: MUSC2106 Assessment: Two critical analyses 1,000 words each (20% each); four online quizzes 1000 words (20%); major essay 3,000 words (30%); class participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
The very term 'The Sixties' has lived on in myth as signifying a radical break with the past in the arts, literature and music. While these years saw a great change and social upheaval, this subject will seek link to the music of the era to much longer trajectories of social, political and aesthetic change. We will examine a wide range of music drawn from popular traditions, jazz and the avant garde. No formal music training is necessary.
MUSC2631 Music and Everyday Life

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 2 Classes: 2 hr lecture/wk Prerequisites: 12 credit points of Junior Music units Prohibitions: MUSC2903 Assessment: Fieldwork project paper 3000 words (40%); ethnographic description of a musical event 1000 words (20%); two critical response paper (1000 words each) ( 30%), class presentations and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit is a requirement for Honours.
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.
MUSC2653 Introduction to Digital Music Techniques

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson, Dr Damian Barbeler Session: Semester 1 Classes: 2 hr lecture/demonstration/wk Prerequisites: 18 Junior credit points Prohibitions: MUSC2053 Assessment: Sound recording and editing assignment (30%); creative assignments (60%); online assessments, attendance and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: An ability to read music at a basic level and an understanding of fundamental musical terminology is an advantage in this unit of study.
This unit is an introduction to the use of digital sound and music in creative and multimedia contexts. It is a practical course in which students are introduced to tools of sound creation and manipulation. Students will undertake creative projects as a means to learning. In addition, participants will be exposed to a number of approaches to electroacoustic music across the 20th and 21st centuries.
MUSC2654 Popular Music

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 2 Classes: 2 hrs/week Assessment: Two critical analyses 1,000 words each (20% each); tutorial test 1000 words (20%); major essay 3,000 words (30%); class participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2663 Survey of Film Music

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 2 Classes: 2 hour lecture and 1 hour tut/week Prerequisites: 18 junior credit points Assessment: Review assignments 2,000 words (30%), final paper 2,500 words (50%), participation (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2664 Popular Music and the Moving Image

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr Charles Fairchild Session: Semester 1 Classes: 2 hour seminar/week Prerequisites: 18 junior credit points Assessment: Musical analysis 1000 words (20%); industrial critique 1000 words (20%);Listening and viewing test (20%); Final Project 3,000 words (30%); Participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2667 Shakespeare as Opera

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr Michael Halliwell Session: Semester 1 Classes: 1 x 2 hour seminar/week Prerequisites: 18 Junior credit points Assessment: 1500 word mid-semester assignment (25%), 4,500 word essay (75%). Mode of delivery: Normal (lecture/lab/tutorial) day
This course will study the literary and musical strategies employed by composers and librettists in the adaption of the plays of Shakespeare into opera. Operas to be examined are taken from nearly 400 years of operatic repertoire including the classical, romantic, modernist and postmodernist periods. Recent CD and DVD recordings of both the plays and operas will be used, and current adaption theory as applicable to opera will be investigated.
MUSC2670 Music Festivals and Arts Events Management

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson Session: Semester 1 Classes: 2 hour seminar + 1 hr tut/week Prerequisites: 18 Junior credit points Assessment: Participation and involvement including small written tasks as appropriate (e.g. preparation of a sample budget) (50%) equivalent to 2250 words of assessment. 2250 word groupwork written submission (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2679 Spirituality as Music

Credit points: 6 Teacher/Coordinator: Prof Anne Boyd Session: Semester 1 Classes: 2hr/wk and 1hr/tut Prerequisites: 18 Junior credit points Assessment: Listening/short answer test (1500 words) (30%); Seminar Presentation (10%); Individual Project as extended essay, or composition or performance accompanied by a shorter reflective essay (4500 words ) (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2691 Revolutionary Voices: Music and Politics

Credit points: 6 Session: Semester 1 Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC2693 Fundamentals of Music 3

Credit points: 6 Teacher/Coordinator: Prof Matthew Hindson, Dr. Daniel Rojas Session: Semester 1 Classes: 1hr lecture and 2 x 1hr tutorials (aural & written)/wk Prohibitions: MUSC1501 or MUSC2615 or MUSC2699 Assessment: Written and online music theory assessment (70%), aural assessment (30%). Mode of delivery: Normal (lecture/lab/tutorial) day
Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of Western and Non-Western musical styles, from classical music to film music to noise.
MUSC2694 Survey of World Music

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 1 Classes: 2 hr lecture, 1 hr tut/week Prerequisites: 18 junior credit points Assessment: Brief reports (30%), Tutorial work including participation (20%), Final paper 3,000 words (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC3601 Contemporary Music Making 1

Credit points: 6 Teacher/Coordinator: Dr Clinton Bracknell Session: Semester 1,Semester 2 Classes: 1 hr lecture; 2 X 1 hr tut/wk Prerequisites: MUSC1503 or MUSC1504 or MUSC2653 Prohibitions: MUSC1401 or MUSC1402 or MUSC2403 or MUSC2404 Assessment: Two creative output process papers (50% in total); Post-Recording Assessment and Planning Paper (30%) Weekly peer review, critique and assessment (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students who do not meet the pre-requisite may seek special permission from the subject co-ordinator
Students will bring their composition, performance and music technology skills together to complete one project during the course of the semester. They will write, rehearse and perform their music. Then they will produce a high-quality demo. Finally, they will work with music industry professionals to create a plan to present their work to the public. Throughout the semester, students will engage in research, analysis and assessment of their own work and the work of their peers.
MUSC3602 Contemporary Music Making 2

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr Charles Fairchild; Dr Daniel Rojas Session: Semester 2 Classes: 1hr lecture; 2hrs tut/wk Prerequisites: (MUSC1503 or MUSC1504) and MUSC3601 Assessment: Two creative output and process papers (1000 words each) 50% in total; Post-Recording Assessment and Planning Paper (1500 words) 30%; Weekly Peer Review and Assessment (1000 words) 20%. Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students who do not meet the pre-requisite may seek special permission from the subject co-ordinator
This subject is a continuation of Contemporary Music Making 1. Students will bring their composition, performance and music technology skills together to plan, pursue and complete one project. Students will work on a semester-long collaboration with one or more other students. These pairs or groups will write, rehearse, and perform their music and then produce a high-quality demo. Throughout the semester, students will engage in research, analysis and assessment of their own work and the work of their peers.
MUSC3603 Advanced Digital Music Techniques

Credit points: 6 Teacher/Coordinator: Professor Matthew Hindson, Dr Damian Barbeler Session: Semester 2 Classes: 3 hr lecture/demonstration/wk Prerequisites: MUSC2653 Assessment: Creative assignments (80%), Weekly review and presentation of work (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students who do not meet the pre-requisite may seek special permission from the subject co-ordinator
This unit is an advanced exploration of digital sound and music in creative and multimedia contexts. It is a subject in which students are expected to make sophisticated use of sound creation and manipulation tools in pursuit of their own musical ideas. Students will undertake creative projects as a means to learning. An ability to read music at a basic level and an understanding of fundamental musical terminology is an advantage in this unit of study.
MUSC3606 Musical Australia and Asia

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Prof Anne Boyd Session: Semester 1 Classes: 2hr lecture and 1 hr tut/week Prerequisites: 18 Junior credit points Assessment: One 3,000 word essay, or individual creative project (such as composition) (60%) accompanied by a short reflective essay; a listening test (20%); contribution to online discussion (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Assumed knowledge: An ability to read music at a basic level and an understanding of fundamental musical terminology would be an advantage but not essential.
An examination of Australian Music reflecting an engagement with the traditional music of Asia. Both the specific tradition as well as its musical influence will be studied with special emphasis upon China, Japan, Korea, Indonesia and India. Wherever possible workshops upon a specific tradition (such as gamelan performance) will be included.
MUSC3609 Musicology

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 2 Classes: 2 hr seminar/wk Prerequisites: 12 Junior credit points in Music units Prohibitions: MUSC3904 Assessment: Written assessments (50%), weekly summaries of readings (30%), participation (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit is a requirement for Honours.
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.
MUSC3639 Music Journalism

This unit of study is not available in 2016

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 1 Classes: 1 hr lecture, 1 hr tut/week. Prerequisites: 18 junior credit points Assessment: Exercises in music journalism and reviewing 4,000 words (50%), final paper 2,000 words (30%), participation (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC3640 Rhythms and Sounds of Latin America

Credit points: 6 Session: Semester 2 Assessment: Essay 2,500 words or creative project with reflective statement (50%), 2 listening assessments (20%), Exam (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Musical knowledge may be helpful but not necessary
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.
MUSC3699 Understanding Music: Modes of Hearing

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 2 Classes: 2 hr lecture, 1 hr tut/wk Prerequisites: 18 Junior credit points Assessment: Analyses eq. 1,500 words (30%), final paper 3,000 words (50%), tutorial participation (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MUSC4011 Music Honours A

Credit points: 12 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 1,Semester 2 Classes: 2 hr Dissertation Seminar/week, plus fortnightly supervision Prerequisites: Credit results in MUSC3609, and (MUSC2631 or MUSC3699), and a result of Credit or greater in 36 credit points of Senior Music units Assessment: 15,000 - 20,000 word thesis which may include a creative component equivalent to 6000 words (50%); Dissertation Seminar (20%); 12 credit points in Arts or Music units of study (30%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
The Honours BA in Music is both a completion at a high standard of an academic education in music, and a preparation for postgraduate study in music. Intending Honours students should speak to the Honours co-ordinator before enrolling. Honours requirements are: A dissertation on a topic agreed with the course coordinator, but normally negotiated by the end of the previous year in the course of MUSC3609 Musicology. A research-based creative component (performance, composition, curation) equivalent to up to 6000 words may, with permission of the supervisor, be included as an integral part of the dissertation, and a further 12 credit points in Arts or Music (subject to approval).
MUSC4012 Music Honours B

Credit points: 12 Session: Semester 1,Semester 2 Corequisites: MUSC4011 Mode of delivery: Normal (lecture/lab/tutorial) day
Refer to MUSC4011
MUSC4013 Music Honours C

Credit points: 12 Session: Semester 1,Semester 2 Corequisites: MUSC4012 Mode of delivery: Normal (lecture/lab/tutorial) day
Refer to MUSC4011
MUSC4014 Music Honours D

Credit points: 12 Session: Semester 1,Semester 2 Corequisites: MUSC4013 Mode of delivery: Normal (lecture/lab/tutorial) day
Refer to MUSC4011
PERF2622 Professional Practice Internship

Credit points: 6 Teacher/Coordinator: Dr Jennifer Rowley Session: Semester 1,Semester 2 Classes: One seminar at the conclusion of program Prerequisites: 48 credit points from UG Music degree Assessment: Reflective journal completed in ePortfolio (50%), Seminar presentation (50%) Practical field work: Students will work a minimum or 6-9 hours per week Mode of delivery: Professional practice
Note: Department permission required for enrolment
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.
PERF3000 Conducting 1

Credit points: 3 Teacher/Coordinator: Associate Professor John Lynch Session: Semester 1 Classes: 1.5 hr lecture/prac workshop/wk Assessment: Preparation/participation (25%), Continual progress (50%), Written assessment (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: To remain in the unit, students must pass an audition in the first week of class. Audition requirements: To demonstrate the beat patterns for 2, 3, 4, 5 and 6 and prepare Divertimento in D; Movement 1 K.136 (Mozart) demonstrating basic cues and dynamics.
Consolidation of stick and rehearsal techniques with emphasis on gesture and its expression in accordance with the score. Study of styles and interpretation of classical and romantic composers based on scores, recordings and the performance of works in class.
PERF3001 Conducting 2

Credit points: 3 Teacher/Coordinator: Associate Professor Dr John Lynch, Professor Eduardo Diazmuñoz Session: Semester 2 Classes: 1.5 hr lecture/ prac workshop/wk Prerequisites: PERF3000 Assessment: Preparation/participation (25%), Continual progress (50%), Written assessment (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Note: Students must obtain the level of a credit or higher in Conducting 1 to gain admission and prepare the Haydn Variations (Brahms): theme, var.1 and var.3 for audition. Students with conducting experience, who have not taken Conducting 1, can audition for entry.
Further development of conducting techniques with emphasis on communication of ideas and expressions through gesture. Score preparation. Discussion of rehearsal techniques and practical exercises with available ensembles.
PERF3603 Advanced Conducting

Credit points: 6 Teacher/Coordinator: Associate Professor Dr John Lynch Session: Semester 1 Classes: 3 hr lecture/prac workshop/wk Prerequisites: PERF3000 and PERF3001 Assessment: Preparation/participation (25%), Continual progress (50%), Final project (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Note: Students must obtain the level of a credit or higher in Conducting 2 to gain admission. Students with substantial conducting experience, who have not taken Conducting 1 or 2, can audition for entry.
This unit will provide an in-depth study of the art of conducting including the three main areas: Gesture and movement, Score study and analysis/aural skills, Rehearsal techniques. This advanced unit is skills based and repertoire driven covering major works in the following four genres: Orchestra, Wind band, Choral, Opera.
PERF4000 Conducting 3

This unit of study is not available in 2016

Credit points: 3 Teacher/Coordinator: Professor Eduardo Diazmuñoz Session: Semester 1 Classes: 1.5 hr lecture/prac workshop/wk Prerequisites: PERF3001 Assessment: Preparation/participation (20%), Continual progress (60%), Written assessment (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students must obtain the level of a credit or higher in Conducting 2 to gain admission
Consolidation of stick and rehearsal techniques with emphasis on gesture and its expression in accordance with the score. Study of styles and interpretation of classical and romantic composers based on scores, recordings and the performance of works in class.
PERF4001 Conducting 4

This unit of study is not available in 2016

Credit points: 3 Teacher/Coordinator: Professor Eduardo Diazmuñoz Session: Semester 2 Classes: 1.5 hr lecture/prac workshop/wk Prerequisites: PERF4000 Assessment: Preparation/participation (20%), Continual progress (60%), Written assessment (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students must obtain the level of a credit or higher in Conducting 3 to gain admission
Expanding the repertoire through study of works by 19th and 20th century composers. Instructions in conducting opera, ballet and accompanying soloists. Developing skills of conducting and performing contemporary music.