Table S Electives - Conservatorium of Music Descriptions

Table S Electives - Conservatorium of Music

1000-level units of study

CMPN1000 Composition Through Improvisation 1

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt 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: Dr Kevin Hunt 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 Vocal Composition Workshop

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 2 Classes: 1 x 2 hr seminar per week; All day workshop of composition ideas in Special Projects Week; Extra rehearsal time outside class in preparation for performance of student works; composition time (2 hours per week); score study and listening (1 hour per week). Prerequisites: CMPN1331 or CMPN1601 Assumed knowledge: Sight singing; basic choral skills required; familiarity with music notation and music notation software. Assessment: Composition for vocal ensemble (50%); Performance and rehearsal, professional participation (15%); Two short compositions (35%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: if prerequisite not met, you may request special permission
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.
CMPN1013 Creative Music Technology

Credit points: 3 Teacher/Coordinator: Dr Benjamin Carey Session: Semester 1,Semester 2 Classes: 1 hr lab/studio/wk Prohibitions: MUED1002 Assessment: creative audio assignment (70%), formative skills assessment (20%), participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
In this unit of study students will be introduced to a range of music technologies and gain a basic proficiency in sound recording, editing and mixing. Students will learn to work with audio in a digital audio workstation, how to make good quality recordings with portable recording devices, and make use of these skills in service of a creative outcome. The unit will include an overview of software for notation/sequencing, as well as basic sound synthesis concepts. In the final assessment students will explore the creative possibilities of music technology by realising a sound work using either instrumental and/or environmental sound recorded and edited by them.
CMPN1014 Sound Recording Fundamentals

Credit points: 3 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: 1 hr lect/wk, 1 hr lab class/wk Prohibitions: CMPN2006 Assessment: Stereo Recording (60%), Online Quiz (30%), Participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
In this unit of study students will be introduced to a range of audio technologies and gain a basic proficiency in sound recording, editing and mixing. Students will experience working in the Conservatorium sound studios, and learn how to make good quality recordings with portable recording devices. This unit of study also examines microphone design, stereo microphone techniques and digital audio recording. Students will experience prac-based recording sessions to gain a comprehensive understanding of the recording technology on offer at the Sydney Conservatorium.
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 (20%), large ensemble arrangement (35%). Mode of delivery: Normal (lecture/lab/tutorial) day
Instrumentation and Orchestration, enhances students' knowledge of the modern orchestra while reinforcing core musicianship skills. Instrumentation study investigates the technical limitations and expressive potential of individual instruments. Orchestration examines a range of instrumental combinations in diverse styles and ensemble contexts, and requires that students learn best typographic practice and current conventions of notation and score layout. In examining instrumental characteristics the unit will also cover the fundamentals of acoustics and timbre perception, and will demand a thorough grasp of the harmonic series and its broader musical implications. Throughout the course students will be required to present their own arrangements and transcriptions.
CMPN1612 New Music, New Thinking

Credit points: 6 Teacher/Coordinator: Dr Damien Ricketson Session: Semester 2 Classes: 1 x 1hr lecture/week, 1 x 1hr tutorial/week Assessment: Three assessment items: (1) essay (50%); weekly engagement in discussion and creative exercises (30%) and; (3) portfolio of three small creative works (20%). 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 analyses of recent music and artistic themes, discussion and creative tasks, students will be exposed to a variety of compositional techniques, concepts and aesthetics. The content and assessment of this subject will enable students to further develop critical thinking concerning their future contribution to the world of new music be it in composition, performance, musicology or education.
ENSE1041 Choir 1

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1 Classes: 3 hrs of rehearsals/wk Prohibitions: 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).
ENSE1042 Choir 2

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE1041 OR ENSE1015 Prohibitions: 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 Paul Stanhope 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 Prerequisites: ENSE1601 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.
JAZZ1000 Jazz Large Ensemble 1

Credit points: 3 Teacher/Coordinator: David Theak 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 Unit Coordinator 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: David Theak 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: 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: Craig Scott 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: Craig Scott 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: 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: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30% total). 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 includes understanding the ranges of and transpositions for the various instruments, chord symbols, scale-chord relationships rhythm section scoring and voicing techniques for small jazz combo arrangements - featuring Trumpet, Alto Sax, Tenor Sax, Trombone + Rhythm section. 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 typicalstandard harmonic devices, diatonic progression and chord patterns. Legibility in engraving and copying is also an assessable aspect.
Textbooks
Lindsay, Gary (2005) 'Jazz Arranging Techniques from Quartet to Big Band'; Nestico, Sammy 'The Complete Arranger'
JAZZ1020 Jazz Harmony and Arranging 2

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ1019 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30% total). Mode of delivery: Normal (lecture/lab/tutorial) day
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"; Nestico, Sammy "The Complete Arranger"
JAZZ1025 Jazz Piano 1

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt Session: Semester 1 Classes: 1hr tut/wk Prohibitions: JAZZ1601 Assumed knowledge: To have a basic understanding of the names of the notes on a piano keyboard, and to have an understanding and basic ability to be able to read music notation in treble and bass clefs Assessment: Short technical exam (10%) week 3; Repertory exam weeks 8 and 9 (40%) ; Detailed repertoire exam (40%) - weeks 10, 11 and 12; Overall progress and participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz degree students. Students should have a basic understanding of the names of the notes on a piano keyboard, and to have an understnding and basic abliity to be able to read music notation in treble and bass clefs.
This unit of study 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 semester examinations, students are required to demonstrate their understanding of the chords and voice leading of the selected repertoire. An introduction to playing chords of tunes of the jazz repertoire. An introduction to playing diatonic cycle harmony. An introduction into jazz rhythmic articulations.
JAZZ1026 Jazz Piano 2

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt Session: Semester 2 Classes: 1hr tut/wk Prerequisites: JAZZ1025 Assumed knowledge: Jazz quaver articulation. Chord tones. Ability to play the diatonic cycle harmony, 12 bar blues and ii-V-I progressions. Assessment: Short technical exam (10%), week 3; Repertory exam weeks 8 and 9 (40%) ; Detailed repertoire exam (40%) - weeks 10, 11 and 12; Overall progress and participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit of study is only available to non-Jazz degree students.
Consolidation and development of concepts and skills introduced in Jazz Piano 1. Applying A/B chord voicings and Drop 2 chord voicings to Jazz Standards.
MCGY1000 Aural Perception 1

Credit points: 3 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 1 Classes: One 1hr Lab and one 1hr Solfege tut/wk Assessment: Weekly Lab assignment (15%); Non-Western Music Transcription assignment (15%); Solfege class work assessment (15%); 1hr written examination (30%): 10 min Solfege examination (25%). 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.
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. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017)
MCGY1001 Aural Perception 1A

Credit points: 3 Teacher/Coordinator: Dr Daniel Rojas 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: 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. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017).
MCGY1002 Aural Perception 1B

Credit points: 3 Teacher/Coordinator: Dr Daniel Rojas 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. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017).
MCGY1003 Aural Perception 2

Credit points: 3 Teacher/Coordinator: Dr Daniel Rojas 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%); Transcription assignment (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
Please note that students enrolling in this unit in Semester 1 will use the original edition of the textbooks, whereas those enrolling in Semester 2 will uses the 2nd Edition.
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 (35%), online quizzes (10%), examination (55%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Completion of a Music Skills Test is essential prior to commencement. Students who have not completed the test 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 (35%), online quizzes (10%), examination (55%) 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
MCGY1030 This is Music

Credit points: 6 Teacher/Coordinator: Dr Christopher Coady Session: Semester 1 Classes: 1 x 1hr lecture/week, 1 x 1hr tutorial/week Assessment: tutorial participation (20%), 1 x 1000wd article analysis (25%), 1 x article critique assignment to the equivalent of 1000wds (25%), 1 x 2000wd final essay (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, History and Culture studies.
This course introduces students to the different ways of thinking about music that bind together our Conservatorium culture. It is a course concerned with 'big' questions: What exactly is a musical work? What do we hear when music is played? How do we go about making new music and how do we make old music new again? In grappling with these questions, students learn how to formulate persuasive arguments about the nature of music in general and the significance of musical works and artists in particular. The course is broken into four three-week episodes: Talking about Music, Making Music, Listening to Music and Learning about Music. Lectures from performers, composers, music educators and musicologists comprise each of these episodes and cover the wide variety of music genres and approaches to music making taught at the Conservatorium. As students hone their philosophical positions in relation to the course's 'big' questions, they are therefore simultaneously introduced to the constellation of ideas that constitute our musical world.
MCGY1031 Musical Worlds of Today

Credit points: 6 Teacher/Coordinator: Dr Rachel Campbell Session: Semester 2 Classes: 1 x 2hr lecture/week, 1 x 1hr tutorial/week Assessment: 1 x 2000wd essay (40%), 1 x tutorial report (20%), 1 x listening test (20%), overall tutorial participation (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 its region, 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, Melanesia) and Australian Music (place and identity, from colonialism to the present day).
MUED1009 Psychology of Learning and Instruction

Credit points: 3 Teacher/Coordinator: A/Professor Jennifer Rowley Session: Semester 2 Classes: 1 x 1 hour lecture and 1 x 1 hour tutorial/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.
MUSC1300 Popular Music Ensemble

Credit points: 3 Teacher/Coordinator: Dr Jade O'Regan Session: Semester 1 Classes: 1 x 2hr workshop/week Assessment: 1 x 1000wd song analysis essay (30%), 1 x recital and written performance notes (40%), overall class participation (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Today, the broad variety of music the professional musician is likely to encounter requires an awareness and practical familiarity with a wide range of popular music genre conventions and contemporary approaches to rhythm. This course provides students with a range of expressive tools that allow them to confidently engage with popular music genres and rhythms. In this unit students will undertake intensive rhythmic awareness training and limited group tuition on one musical instrument (student to provide). They will be guided in playing the instrument in an ensemble, and will participate in ensemble performances. Through seminar-style workshops of selected covers, they will begin to develop a broad understanding of popular music rhythms, instrumentation, ensembles, and musical structures, thus enhancing their knowledge of recorded popular music history and its extensive and diverse musical genres.
MUSC1501 Extended Fundamentals of Music

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and written)/wk Prohibitions: 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 musical styles including classical music (past and present), jazz, popular music and film music.
MUSC1503 Fundamentals of Music 1

Credit points: 6 Teacher/Coordinator: Dr Jonathan Byrnes 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 (70%), aural assessment (30%) 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: Dr Daniel Rojas Session: Semester 1,Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and written)/wk Prohibitions: MUSC1501 or MUSC1502 or MUSC2699 Assumed knowledge: MUSC1503 Assessment: Written and online music theory assessment (60%), aural assessment (30%), participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
A more advanced exploration of music literacy skills than MUSC1503. The material covered in this unit of study 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. Analysis and compositional craft regarding melody, harmony and rhythm in classical and contemporary popular music are a central focus of this unit of study. Critical listening skills are developed in this unit of study.
MUSC1506 Music in Western Culture

Credit points: 6 Teacher/Coordinator: Dr Rachel Campbell Session: Semester 2 Classes: 2hr lecture and 1 hr tut/wk Assumed knowledge: The ability to follow a musical score while listening to the music and knowledge of elementary music theory. Assessment: Tutorial work (20%), short paper (20%), essay (40%), exam (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This is a Foundation unit in Analysis, history and culture studies.
This unit surveys some of the major developments in the history of western classical music from the Medieval period to the present, and relates them to broader historical and artistic trends. In addition to analysing individual musical works, students will engage with musical historiography and develop a critical understanding of some influential techniques of music analysis.
MUSC1507 Sounds, Screens, Speakers: Music and Media

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 1 Classes: 2hr lecture and 1 tut/wk Prohibitions: MUSC1000 or MUSC1001 or MUSC1502 Assessment: Article summary, 1000 words (25%); Media analysis of 1000 words (20%); Tutorial tests (15%); Final Project, 2,000 words(30%), overall 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 spotify. 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.

2000-level units of study

CMPN2007 Sound Recording Advanced

Credit points: 3 Teacher/Coordinator: Dr Daniel Blinkhorn Session: Semester 2 Classes: 2hr studio, workshop, class and student group focused projects Prerequisites: CMPN2006 or CMPN1014 Assumed knowledge: Proficiency in an industry standard DAW and the ability to understand basic microphone and recording techniques. Assessment: Class Attendance and Participation and presentation (20%), Recording Project 1 (35%), Recording Project 2 (45%), Mode of delivery: Normal (lecture/lab/tutorial) day
This unit follows on from Sound Recording Fundamentals with a variety of both theoretical and practical applications and aesthetics within the studio-based recording environment. Additional topics include frequency response/spectral range and shaping, dynamic range (to compress, or not to compress), DSP functionaility in pre- and post- production and analysis of audio mixdowns and concurrent mixing techniques.
CMPN2613 Comp Techniques: Number and Process

Credit points: 6 Teacher/Coordinator: A/Prof Michael Smetanin Session: Semester 1 Classes: 2 hour seminar/week Prerequisites: CMPN1612 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: A/Prof Michael Smetanin Session: Semester 2 Classes: 2 hour seminar/week Prerequisites: CMPN2613 or CMPN2011 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.
CMPN2631 Electroacoustic Music

Credit points: 6 Teacher/Coordinator: Dr Daniel Blinkhorn Session: Semester 1 Classes: 1 x 2 hr lab/studio class/week Prerequisites: MUED1002 or CMPN1013 or MUSC2653 Prohibitions: CMPN1631 Assumed knowledge: Proficiency in the usage of any industry standard DAW and attendant sound transformation and diffusion software. Assessment: Composition demonstrating electroacoustic techniques (40%), electroacoustic composition drawing from any manner of materials discussed within the unit (60%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will explore past and concurrent techniques in electroacoustic composition through the completion of various tasks in sound transformation and by composing new electroacoustic works. Whilst analysing manifold aesthetics and attendant compositional techniques implicit in the creation of electroacoustic music, emphasis will be placed on students developing a working knowledge of existent and emergent trends within the electroacoustic repertoire, and will gain insights into numerous aesthetic, recording and composing processes leading to the creation of new musical compositions in the field of electroacoustics.
CMPN2632 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 CMPN1013 OR MUSC2653 Assessment: 2 programming assignments (2x25%), final project (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will focus on computer based music composition utilising 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.
CMPN2633 Computer Music Advanced

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1 Classes: 1 x 2 hour lecture per week Prerequisites: CMPN1632 Assumed knowledge: computer programming in Max/MSP or similar software for sound and media. Assessment: research and concept presentation 10%, two minute progress soundtrack for the project 30%, final project 60% 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 for video projection and live performance. This unit of study explores various strategies to create musical compositions with computers and electronics and extend the creative possibilities of real-time digital signal processing for creative industries applications.
ENSE2043 Choir 3

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE1042 OR ENSE1002 Prohibitions: ENSE1019 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).
ENSE2044 Choir 4

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE2043 OR ENSE1019 Prohibitions: 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).
ENSE2603 Chamber Choir 3

Credit points: 6 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Prerequisites: ENSE1602 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 Paul Stanhope Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Prerequisites: ENSE2603 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.
JAZZ2002 Jazz Large Ensemble 3

Credit points: 3 Teacher/Coordinator: David Theak 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: 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 Unit Coordinator 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: David Theak 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: 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 Unit Coordinator 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: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1020 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30% total) Mode of delivery: Normal (lecture/lab/tutorial) day
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'; Nestico, Sammy "The Complete Arranger"
JAZZ2017 Jazz Harmony and Arranging 4

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2016 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
Textbooks
Lindsay, Gary (2005) 'Jazz Arranging Techniques from Quartet to Big Band'; Nestico, Sammy "The Complete Arranger"
JAZZ2022 Jazz Piano 3

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt Session: Semester 1 Classes: 1hr tut/wk Prerequisites: JAZZ1026 Assumed knowledge: Jazz quaver articulation; chord tones, to play 4-5 jazz standards reading from leadsheetswith logical voicing. Ability to play the diatonic cycle harmony, 12 bar blues and ii V I progressions Assessment: Short technical exam (10%) week 3; Repertorie exam weeks 8 and 9 (40%) ; Detailed repertoire exam (40%) - weeks 10, 11 and 12; General knowledge progress (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Consolidation and further development of concepts and skills introduced in Jazz Piano 2. 'Call and Response' rhythm playing; Modal harmony; ii V I progression voicings.
JAZZ2023 Jazz Piano 4

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt Session: Semester 2 Classes: 1hr tut/wk Prerequisites: JAZZ2022 Assumed knowledge: Jazz quaver articulation. Chord tones. A knowledge of at least 6-8 jazz standards, and the ability to play these tunes from memory or from leadsheets, producing logical and creative harmonic voice leading. Ability to play the diatonic cycle harmony, 12 bar blues, ii V I progressions, and interpret voice leading from reading chord symbols on leadsheets. Assessment: 15 min technical exam (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Consolidation and further development of concepts and skills introduced in Jazz Piano 3. Variations of the jazz standard repertoire are examined, and interpreted by reading lead sheets. Chord voicings are memorized. Australian jazz repertoire and jazz piano composition is explored.
JAZZ2030 Jazz Vocal Workshop 1

Credit points: 3 Teacher/Coordinator: Dr Kevin Hunt 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: Dr Kevin Hunt 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: Craig Scott 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: These units are only available to non-jazz degree 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: Craig Scott 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: These units are only available to non-jazz degree 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.
MCGY2004 Aural Perception 3

Credit points: 3 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1003 Assessment: Weekly Lab assignment (15%); Transcription assignment (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%); Transcription assignment (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: 1 lecture,1 tutorial/wk Prerequisites: MCGY1009 Assessment: Assignments (50%), Examination (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
Building on the fundamentals of counterpoint and chord function established in previous semesters, the emphasis here is placed upon developing an understanding of the larger-scale compositional strategies and structures of tonal music. Alongside the study of specific harmonic vocabulary, including leading-tone seventh chords, secondary dominants and modulation, two 18th-century genres are examined which epitomise the integration of contrapuntal and harmonic thinking: the chorale settings and fugues of J.S. Bach.
Textbooks
Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004. Gauldin, Robert. Workbook for Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004.
MCGY2011 Harmony and Analysis 4

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY2010 Assessment: Assignments (50%), examination (50%). 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.
MCGY2601 Perception of Music Performance

This unit of study is not available in 2019

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 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 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 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. Musical works for analysis and discussion 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, 7th ed. (2014)
MCGY2612 Music in the Classical and Romantic Eras

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 1 Classes: 1 x 2hr lecture/week, 1 x 1hr tutorial/week Assumed knowledge: The ability to read musical notation and basic knowledge of music theory. Assessment: Essay (30%); Tutorial assignments and participation (30%); In-class tests (10%); 1 x 2hr 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; C.V. Palisca: A History of Western Music. 9th ed. (2014).
MCGY2613 Music in Modern Times

Credit points: 6 Teacher/Coordinator: Dr Rachel Campbell Session: Semester 1 Classes: 2hr lecture and 1hr tut/week Assumed knowledge: Ability to read musical notation Assessment: 1500 word essay (35%), mid-semester test (20%), tutorial preparation (10%), 2 hr exam (35%) 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
Auner, J. Music in the Twentieth and Twenty-first Centuries, New York: Norton 2013
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.
MUSC2615 Advanced Concepts: The Musical Avant Garde

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 1 Classes: 2 hour lecture & 1 tutorial/week Assessment: Participation in discussions (25%); take-home mid-semester exam (25%); in-class presentation of creative project and explanatory essay (ca. 2000 words) thereof (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit of study will focus on the avant-garde tradition that flourished in the middle of the twentieth century but whose roots arguably date back more than 200 years and whose influence still resonates today. Students will be expected to deal both critically and creatively with the various concepts behind the avant-garde movement.
MUSC2622 Music in the Sixties

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 1 Classes: 2 hrs/week Prerequisites: 18 Junior credit points Prohibitions: MUSC2106 Assessment: Comparative analysis 2,000 words each (20% each); Musical analysis, 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.
MUSC2638 Jazz Riots and Revolutions

Credit points: 6 Teacher/Coordinator: Dr Christopher Coady Session: Semester 1 Classes: 1 x 1hr lecture per week; 1 x 1hr tutorial per week Assessment: Tutorial Participation/Demonstrated Knowledge of Required Reading (10%); Annotated Bibliography (30%); Research Essay Introduction (20%); Research Essay Body (30%); Poetry Slam/Analysis (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
This course examines the powerful link between jazz and moments of social revolution in the United States. It illuminates the central role jazz musicians like Duke Ellington, Dizzy Gillespie, Charles Mingus and Max Roach played in changing hearts, minds and social structures during four distinct historic periods: the Harlem Renaissance, the post-War 1940s, the Civil Rights movement of the 1950s and the Black Nationalist movement of the 1960s. Its central focus is on how music can both ride and resist the political energies that charge particular historic moments.
MUSC2644 Introduction to the Philosophy of Music

Credit points: 6 Teacher/Coordinator: Goetz Richter Session: Semester 1 Classes: 1 x 2hr lecture per week; 1 x 1hr tutorial per week Prerequisites: 24 credit points of Units Assessment: Essay (60%); Examination (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit of study introduces students to philosophical questions about music and to thinking about music with philosophical methodology. The course visits some of the questions which have perplexed musicians and philosophers alike: How are beauty and music related? What does music tell us about time? What is a musical work? How do we listen? Is music related to language? This course enables all students of music and the liberal arts to understand music as a philosophically distinctive phenomenon.
MUSC2645 Psychology of Music

Credit points: 6 Teacher/Coordinator: Assoc. Professor Helen Mitchell Session: Semester 1 Classes: 1 x 1hr lecture/week, 1 x 1hr tutorial/week Assessment: Readings, Summaries and Class Discussion Participation (30%); Key Question Identification and Project Design Poster Presentation (30%); Essay (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Psychology of Music examines music cognition and behaviour to explore the way music is created, produced and perceived. This unit will introduce recent interdisciplinary research as a way to explore music as a social activity. It will consider the methods used by sociologists and psychologists to investigate music and encourage students to think conceptually about their own musical activities.
MUSC2653 Introduction to Digital Music Techniques

Credit points: 6 Teacher/Coordinator: 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

This unit of study is not available in 2019

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.
MUSC2666 Global Sound: Drum and Bass, Rhythm and Soul

Credit points: 6 Teacher/Coordinator: Dr Charles Fairchild Session: Semester 1 Classes: 1 hr lecture, 1 hr tut/week Prerequisites: 18 junior credit points. Assessment: Critical Interpretation of 1500 words (25%), Musical analysis of 1500 words (25%), Final Project of 3000 words (40%), Participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
How did the music of enslaved and marginalised people eventually become a dominant force in contemporary popular culture? This unit will examine the local reinvention of a wide variety of African American music in communities around the world. From soul and funk in West Africa to ska and reggae in the Caribbean, we will examine how music moves around the world and within local communities to make new forms of meaning.
MUSC2672 Australian Popular Music

Credit points: 6 Teacher/Coordinator: Dr Clint Bracknell Session: Semester 2 Classes: 1 hr lecture + 1 hr tut/week Prerequisites: 18 junior credit points. Assessment: Analytical essay (1000 words) 20%; Tutorial presentation 20%; Listening test 20%; Research essay (3000 words) 40%. Mode of delivery: Normal (lecture/lab/tutorial) day
The history of Australian popular music presents us with a long and complex heritage. It reflects, in its very constitution, the lives of those who create it and is underscored by the dynamic relationship between Indigenous and non-Indigenous Australia. This unit of study will explore the continuing experience and influence of a wide range of music made in Australia, from songlines to bush ballads and dance anthems, Countdown and Rage. We will examine the folk revival of the 50s, pub rock of the 70s, reggae, punk and indie rock of the 80s and 90s as well as the emergence of the multiplicity of styles and expressions that mark the contemporary Australian music scene.
Textbooks
Stratton, Jon Australian rock : essays on popular music (1st ed). Network Books, Perth, 2007.
MUSC2693 Fundamentals of Music 3

Credit points: 6 Teacher/Coordinator: Dr. Daniel Rojas Session: Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and 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 musical styles including classical music (past and present), jazz, popular music, film music and film music.
PERF2604 Chinese Music Ensemble 1

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 1 Classes: 1 x 2hr group lesson/seminar per week; 1 x 1hr tutti rehearsal per week in weeks 6-12 (some additional rehearsals may be arranged prior to concerts). Assessment: Written Summaries (20%); Concert report (15%); Instrument Study and Performance (65%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
In this unit students will receive small group tuition on one traditional Chinese musical instrument (provided on loan). They will be guided in playing the instrument in an ensemble, and will participate in ensemble performances. Through seminar-style discussions of four selected readings and of at least one concert of Chinese music attended during the semester, they will begin to develop a broad understanding of Chinese traditional musical instruments, ensembles, and musical structures, thus enhancing their knowledge of China's thousands of years of recorded musical history and its extensive and diverse musical traditions.
PERF2605 Chinese Music Ensemble 2

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 2 Classes: 1 x 2hr group lesson/seminar per week; 1 x 1hr tutti rehearsal per week in weeks 6-12; (some additional rehearsals may be arranged prior to concerts). Prerequisites: PERF2604 Assessment: Online Discussion of Set Recordings (15%); Reflective Diary (10%); Instrument Study and Performance (75%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students may seek permission from the co-ordinator if pre-requisites are not met.
In this unit students continue their previous study of one Chinese instrument in both small group and ensemble settings. They are encouraged to build on technical capacity developed in their first semester's study, and to perform a wider range of pieces. They will also engage with a range of recordings and live performances of Chinese music to further develop their understandings of traditional and contemporary Chinese music, and of how Chinese musical instruments have featured in a variety of musical contexts.

3000-level units of study

CMPN3634 Interactive Media and Sound Installations

Credit points: 6 Teacher/Coordinator: Dr Benjamin Carey 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 Daniel Blinkhorn Session: Semester 1 Classes: 6 x 1 hour lectures for the first six weeks; 6 x 2 hour tutorials thereafter Prerequisites: MUED1002 or CMPN1013 or MUSC2653 or MUED4002 Assessment: Written paper (20%), Presentation (30%), Final Music (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
The unit provides a practical introduction into the creation of, and aesthetics for music and
moving image. Topics for discussion will include, but are not be limited to: relationships
between image and sound, diegetic and non-diegetic sound, thematic development,
partnerships between composers, directors and other such collaborations within the creative
sector, sound design, music for games and animation, and non-commercial applications of
music for image (audiovisual art, cymatics etc). The unit seeks to enable
students the ability to develop a skillset within their own studio spaces for the creation and
dissemination of their projects; both at a sector ready, as well as a technically proficient level.
Importantly, students will be presented with a variety of possible projects and collaborations
with industry partners across differing creative sectors.
ENSE3045 Choir 5

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE2044 OR ENSE2003 Prohibitions: 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).
ENSE3046 Choir 6

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE3045 OR ENSE2008 Prohibitions: 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).
ENSE3605 Chamber Choir 5

Credit points: 6 Teacher/Coordinator: A/Prof Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Prerequisites: ENSE2604 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: A/Prof Neil McEwan Session: Semester 1,Semester 2 Classes: 5hrs of rehearsals/wk Prerequisites: ENSE3605 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.
JAZZ3002 Jazz Large Ensemble 5

Credit points: 3 Teacher/Coordinator: David Theak 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: 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 Unit Coordinator 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: David Theak 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: These units are only available to non-jazz degree students. Entry to these ensembles is by audition held during the week before classes commence in semester 1. Contact Unit Coordinator 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.
MCGY3061 Advanced Harmony

Credit points: 6 Teacher/Coordinator: Lewis Cornwell Session: Semester 1 Classes: One 2-hour seminar/wk Prerequisites: MCGY2011 Prohibitions: MCGY2600 Assessment: Four 25-bar musical assignments (75%); 30 minute seminar presentation (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
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.
MCGY3601 Analysis of Nineteenth-Century Music

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 2 Classes: 1 x 2 hour seminar/week Prerequisites: MCGY2011 Assessment: 5 x Bi-Weekly Papers (50%); final essay (40%); In class Participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
As a formal discipline, the analysis of music came into existence during the nineteenth century. Ironically, the music of this era, although much pored over, has been relatively poorly served in terms of analytical methodologies. Characteristically, both the harmonic language and the structures employed by nineteenth-century composers have been analysed as departures from codified eighteenth-century norms. In this unit, we will grapple with the particularity of tonal, harmonic and formal practices of the era, using a range of established methodologies and new tools (including Schenkerian theory, Neo-Riemannian theory, and sonata deformation theory).
MCGY3602 Understanding East Asian Music

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 2 Classes: 2hr Seminar per week Assessment: Academic blog based on class activity (15%); In-class presentation (15%); Academic blog based on set reading (10%); Major essay (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
Students will learn about, discuss and play different musical forms from East Asia - ranging from ancient guqin music to contemporary K-Pop. They will develop an understanding of key aesthetic concepts, musical instruments and musical features of the music cultures in this region. Students will be encouraged to develop awareness of the diversity of East Asian musics and cultures, and of music's interrelation with and great significance to East Asian societies both in the past and today.
MCGY3604 J.S. Bach and his World

Credit points: 6 Teacher/Coordinator: Dr Alan Maddox Session: Semester 2 Classes: 1 x 2hr seminar per week Prerequisites: MCGY2611 Assessment: Critical Reading Assignments (20%); Class Presentation (20%); Essay (50%); Seminar Preparation and Class Presentation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: If students do not meet pre-requisites, they may seek permission from the Unit Co-Ordinator
More than 250 years after his death, J.S. Bach remains one of the most revered musicians in the Western tradition. What influences formed Bach's style? What makes his music embedded in its time and place, yet distinctive and instantly recognisable? This unit investigates the music of this iconic composer in its historical context, considering his training, cultural and religious environment, stylistic influences and ongoing legacy, and allows students to explore their own research interests relating to Bach's music.
MCGY3617 Music Through Literature

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 2 Classes: One 2-hour seminar per week Prohibitions: MCGY3017 Assessment: Online and class participation and short tasks (10%); Seminar presentation (30%); Essay 3500 words (60%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: or with permission of the coordinator
This unit will explore specific works of literature which deal with musical matters or which make significant statements about musical aesthetics. The contribution towards understanding musical experience of creative artists who are not, or not primarily, musicians, is sometimes ignored in courses for the training of musicians. Yet, in the case of writers, such artists are often better equipped than musical professionals to capture in words, the ineffable nature of musical experience and aesthetics. Moreover their place as receivers rather than creators sometimes enables them to make statements about the broader cultural significance from a perspective outside that of production and performance. This course exists to allow trainee performers, teachers and musicologists an opportunity to explore such perspectives. Topics will be decided by class interest and may include work by Bruce Chatwin, Gunter Grass, Herman Hesse, James Joyce, Milan Kundera, Thomas Mann, Romain Roland, Vikram Seth, William Shakespeare, Tim Winton and others.
MCGY3627 Paleography of Music

Credit points: 6 Teacher/Coordinator: A/Professor Kathleen Nelson Session: Semester 2 Prerequisites: MCGY2611 Assumed knowledge: Knowledge of current musical notation is essential. Assessment: Assignments and in-class assessments (50%); 2-hour examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: If prerequisite not met, you may apply for special permission.
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 likely to be 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 read and transcribe from the original notations into modern musical notation. In addition, there may be a class project focussed on chant manuscripts in Sydney.
MCGY3629 Romanticism and the Fantastic

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 1 Classes: One 2-hour seminar/week Prerequisites: MCGY2612 Assumed knowledge: It is expected that students will have some knowledge of harmonic and formal practices up to 1850. Assessment: Essay (40%); Critical/ analytical assignment (15%); Listening and score-based tests (20%); Presentation (15%); seminar participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will explore the fantastic as a central aspect of romanticism in its various manifestations, including the uncanny, the daemonic and the alienated. In music, this meshes fruitfully with the fantasy as a genre, which is similarly dependent on the imagination and the evasion of clear boundaries. A range of Lieder, operas, symphonic and solo 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

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: Dr David Larkin Session: Semester 1 Classes: 1 x 1hr lecture/week, 1 x 2hr seminar/week Prerequisites: MCGY2612 Assumed knowledge: It is expected that students will have some knowledge of harmonic and formal practices up to 1850. Assessment: 1 x research essay (50%); 2 x in-class tests (20%); 1 x in-class presentation (20%); Seminar participation (10%) 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

This unit of study is not available in 2019

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 Teacher/Coordinator: Dr David Larkin Session: Semester 2 Classes: 1 x 2hour seminar/week Prerequisites: MCGY2612 Assumed knowledge: It is expected that students will have some knowledge of late 19th-century harmonic practices. Assessment: Essay (40%); Critical/analytical assignments (15%); Listening and score-based tests (20%); In-class presentation (15%); Seminar participation (10%) 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.
MUSC3603 Advanced Digital Music Techniques

Credit points: 6 Teacher/Coordinator: 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.
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 in the Arts Music unit.
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 begins to answer these questions and provides an overview of musicology as an academic discipline. The readings cover the field of musicology from its beginnings in the 1880s up to the present day.
MUSC3610 Musical Traditions and Globalization

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 1 Classes: 1 x 2hr seminar per week Prerequisites: 48 credit points of Junior Units Assessment: Academic Blog - Musical Tradition (20%); In-class Presentation (15%); Academic Blog - Musical Piece (15%); Major Essay (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
Every musical form worldwide exists within a tradition, and globalization has been crucial in shaping those traditions in the contemporary era. This course explores different ways that musical traditions and globalization intersect. It introduces key theoretical approaches to both globalization (including postcolonial perspectives) and the concept of musical tradition, and explores case studies including social media and music in the Pacific Islands, East African hip-hop, understanding globalization's influence on indigenous Australian musical traditions and historically informed Western art music performance.
MUSC3624 Music and Sound in 21st Century Film

Credit points: 6 Teacher/Coordinator: Dr James Wierzbicki Session: Semester 2 Classes: 1 x 2hr seminar/week Prerequisites: MUSC2663 Assessment: overall class participation (20%), 2 x presentations to the equivalent of 1500wds (40%), 1 x 3000wd essay (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Films in the 'classical' style are still being made, but increasing numbers of films veer from tradition, and often their communicativeness depends on innovative uses of music and sound. This upper-level seminar involves intense scrutiny of soundtracks of works by Philip Nolan, Martin Scorsese, Terrence Malick, and other twenty-first-century filmmakers.
MUSC3629 Music and Everyday Life

Credit points: 6 Teacher/Coordinator: A/Prof Charles Fairchild Session: Semester 2 Classes: 1 x 2hr lecture/week Prerequisites: 12 credit points of (any MUSC1XXX units or JAZZ1021 or JAZZ1022 or MCGY1031 or MCGY1030) Prohibitions: MUSC2903 Assessment: 1 x 3000wd fieldwork project paper (40%), 1 x 1000wd description of a musical event (20%), 2 x 1000wd critical response papers (30%), overall class participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit is a requirement for Honours in the BA.
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.
MUSC3630 Popular Music and the Moving Image

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: Associate Professor Charles Fairchild Session: Semester 1 Classes: 1 x 2hr seminar/week Prerequisites: 18 junior credit points Assessment: 1 x 1000wd musical analysis (20%), 1 x 1000wd industrial critique (20%), 1 x listening and viewing test (20%), 1 x 3000wd final project (30%), overall participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
The range of media channels through which we experience, popular music has prolifereated in recent years. The emotive power of music is used to tell stories, sell products and connect people to one another. This unit 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.
MUSC3631 Music in Public: Performance and Power

Credit points: 6 Teacher/Coordinator: Associate Professor Charles Fairchild Session: Semester 2 Classes: 1 x 2hr seminar/week Assessment: 2 x 500 wd performance reports (15%), 1 x 1500wd performance genre analysis (25%), 1 x 1000wd performance analysis (20%), 1 x 3000wd essay (30%), overall seminar participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
The act of performing music creates a multitude of social relationships between listeners, audiences, musicians, performers, and the industries and institutions that surround them. This subject will ask students to study acts of performance historically, theoretically, and observationally. They will examine a wide range of situations and circumstances and try to work out how the expression of music is also an expression, affirmation, and contestation of social power. This subject will appeal to those who wish to study subjects such as music, performance studies, sociology, anthropology, and gender and cultural studies. It cuts across all of these areas of inquiry in the attention that is paid to the complexity and subtlety of how music is perceived and experienced across multiple social scenes and communities. This subject is not about performance practice or assessment. Instead, it seeks to allow students to gain some insight into the experience of performance as multifaceted and perspectival.
MUSC3639 Music Journalism

This unit of study is not available in 2019

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.
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: Brief essays eq. 1,500 words (30%), final paper 3,000 words (50%), tutorial participation (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: A good working knowledge of musical terminology and vocabulary is required.
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. This is a required unit of study for a music major in an Arts degree.
PERF3000 Conducting 1

Credit points: 3 Teacher/Coordinator: George Ellis 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: George Ellis 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: 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

This unit of study is not available in 2019

Credit points: 6 Teacher/Coordinator: George Ellis 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.
PERF3606 Chinese Music Ensemble 3

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 1 Classes: 1 x 2hr group lesson/seminar per week; 1 x 1hr tutti rehearsal per week in weeks 6-12; (some additional rehearsals may be arranged prior to concerts). Prerequisites: PERF2604 or PERF2605 Assessment: Class Presentation or written submission (20%); Blog post and comments on set readings (15%); Instrument Study and Performance (65%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Students may seek permission from the co-ordinator if pre-requisites are not met.
This unit allows students to further develop proficiency on one Chinese instrument in both small group and ensemble settings, and to continue to perform with the ensemble. Students will gain a deeper understanding of Chinese music by conducting an interview with a performer or composer of Chinese music, and by exploring selected readings concerning orchestraparticular themes relating to the repertoire under study.
PERF3607 Chinese Music Ensemble 4

Credit points: 6 Teacher/Coordinator: Dr Catherine Ingram Session: Semester 2 Classes: 1 x 2hr group lesson/seminar per week; 1 x 1hr tutti rehearsal per week in weeks 6-12; (some additional rehearsals may be arranged prior to concerts). Prerequisites: PERF3606 or (PERF2604 and PERF2605) Assessment: Small Group Performance and Program Notes (40%); Practical exam (20%); Instrument Study and Performance (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Students may seek permission from the co-ordinator if pre-requisites are not met.
This unit allows students to further develop proficiency on one Chinese instrument in both small group and ensemble settings, and to continue to perform with the ensemble. Students are also encouraged to take an increasingly active and independent role in engaging with Chinese music. In particular, they are guided and supported in small group collaborations focussing upon developing, rehearsing, recording and publicly performing a range of works for Chinese instruments.
PERF3640 Industry and Community Projects

Credit points: 6 Teacher/Coordinator: Ian Whitney Session: Intensive December,Intensive February,Intensive January,Intensive July,Semester 1,Semester 2 Classes: blended learning (online, seminar and group work) Assumed knowledge: upper-level disciplinary knowledge Assessment: 1 x group plan (10%), 1 x group presentation (20%), 1 x group project (50%), 1x individual reflective task (20%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Department permission required for enrolment
Note: Students will submit project preferences, however first preference placements cannot be guaranteed.
This unit is designed for third year students to undertake a project that allows them to work with one of the university's industry and community partners. Students will work in teams on a real-world problem provided by the partner. This experience will allow students to apply their academic skills and disciplinary knowledge to a real world issue in an authentic and meaningful way. Participation in this unit will require students to submit an application.

4000-level units of study

CMPN4666 Advanced Analysis

Credit points: 6 Teacher/Coordinator: Dr Gerard Brophy 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.
ENSE4047 Choir 7

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE3046 OR ENSE3016 Prohibitions: 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).
ENSE4048 Choir 8

Credit points: 3 Teacher/Coordinator: Dr Paul Stanhope Session: Semester 1,Semester 2 Classes: 3 hrs of rehearsals/wk Prerequisites: ENSE4047 OR ENSE2012 Prohibitions: ENSE4020 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).
MCGY4110 Themes in Australian Music History

Credit points: 6 Teacher/Coordinator: Dr Rachel Campbell Session: Semester 2 Classes: 1 x 2hr seminar/week Assessment: weekly class exercises (20%), 1 x annotated bibliography for research paper (20%), 1 x written research proposal (5%), 1 x draft research paper (25%), 1 x 4000wd research paper (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
The field of Australian concert or classical music is a broad one, consisting of disparate sources, writings, scores and recordings. Scholars, performers and composers of Australian music benefit from an ability to analyse music and texts in relation to historical contexts and themes. In this subject, students will gain a broad knowledge of the history of Australian concert music. They will also examine and debate the various issues and ideologies that appear repeatedly in writings on Australian culture, such as landscape, migration, national identity, representation of Indigenous culture, the British Empire, modernism and historical progress. This unit will draw on research from Australian History and Musicology to equip students in methodologies, theories and skills crucial to the research of Australian music. The emphasis will be on historiographic analysis and understanding the meaning and value of music within its historical context.
MCGY4601 Research Methods

Credit points: 6 Teacher/Coordinator: Assoc. Professor Helen Mitchell Session: Semester 2 Classes: 2 hour seminar/week Assessment: Assignments include poster presentation, literature review, seminar presentation, written project proposal (100%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: This unit is a prerequisite for all Performance/Composition students intending to pursue Honours.
This seminar is designed to prepare students for undertaking their own research projects in music in the Honours Program. It will introduce and develop students' awareness of recent musical scholarship and research methodologies and equip students with skills to design and conduct research across a wide variety of musical topics. Students will develop strategies for locating and reviewing information efficiently and effectively and begin exploration of their chosen research topic. The seminars culminate with a series of student presentations, in which students present their research proposals to students and staff for discussion.
MUSC4214 Musicology Workshop Advanced

Credit points: 6 Teacher/Coordinator: Dr Alan Maddox Session: Semester 2 Classes: 2 hours/week including attendance at SCM Musicology Colloquium Series (1 hour/fortnight) Assessment: 1 x reflective journal (20%); 1 x 15-20min presentation (20%); 1 x 3000wd essay (50%); overall participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
Musicology Workshop Advanced provides a forum for discussion of musicological work and provides experience in the spoken presentation of ideas and research, and in discussion of ideas and research in a group context. It also provides a broadening of students' experience in the field through contact with the work of other students, staff, visiting scholars, and musicology graduates, as well as through class projects when time permits, in areas such as publication, music criticism, visits to local libraries or archives, and conference attendance and reporting.