This course incorporates studies in analogue and digital recording techniques (ProTools), live sound mixing, high quality multi-track recording, electronic music history, sequencing, MIDI orchestration, media technologies, sound design, music business, music theory, history and analysis, and aural training.
You will collaborate with performers, composers, film makers and game designers to produce high quality recordings and sound tracks. Core subjects include studies in jazz theory and arranging, as well as traditional counterpoint and music theory.
Choose from a wide range of composition and performance electives and take advantage of opportunities to perform in bands and ensembles. You will have access to state-of-the-art computer labs and studio facilities. Upon completion of this course you will be equipped with the skills and knowledge to work in the fields of audio production, sound design and intermedia.
The Institute hosts special high profile music industry guests on a regular basis. This year, music students were treated to the only workshop presented in Australia from the famous jazz guitarist and his band Mike Stern who was recently out for the Melbourne International Jazz Festival – click here for more details.
After completing this course, you will have the knowledge and skills to look for employment in the music (and related) industries. The range of roles in these industries are many and varied, and may include recording band artist, studio session musician, writer and arranger, record producer, studio engineer, production manager, producer/programmer/designer of music and multimedia software packages, production crew member (and many more!). Industries may include recording industry, music publishing, live performance, music retail, advertising, radio, film, video and television, music therapy, music education and music media.
Graduates of the Bachelor of Applied Music will be eligible to apply for entry into postgraduate courses.
Year 12 applicants must:
Non-Year 12 applicants who have not completed year 12 must:
VTAC and direct entry.
VTAC - To apply for a full time position in this course you must use the Victorian Tertiary Admissions Centre (VTAC) process. Details of the VTAC application process are at www.vtac.edu.au and in the VTAC Guide, which is available from leading newsagents and libraries from August. If the Institute still has vacancies after the VTAC places have been offered, you will be able to apply directly to the Institute.
You will also need to submit a completed Box Hill Institute application for interview form by:
On receipt of your completed application form, together with your audition fee of $35, you will be notified of your audition/interview time.
You may wish to attend an audition preparation workshop. Click here to check for upcoming dates.
AuditionAlthough this is not a performance-oriented stream, you will need to be a reasonably proficient musician. To demonstrate this, you will need to attend an audition in late November or early December.
Musicianship TestYou will be required to complete a musicianship (i.e. theory) test. Applicants who do not meet the musicianship test entry level but meet all other entry requirements might be invited to attend a Summer School intensive course in December.
InterviewYou will be asked a series of questions relating to your suitability for the course. You should demonstrate a clear understanding of career goals and aptitude for the course of study including any relevant industry experience.You are welcome to present testimonials and extra-curricular evidence at this stage e.g. AMEB certificates, teacher references, etc. Applicants to the Audio Production stream of the degree are required to present a folio of recordings You can also include a (i.e. a CD or DVD of audio recordings, mixes, re-mixes and/or other examples of audio related material that shows evidence of interest in this area).
Advanced Standing is approved recognition of prior learning that is displayed as an Exemption (EX) on the student’s academic record. Recognition of Prior Learning (RPL) or Recognition of Current Competencies (RCC) takes into account the knowledge and skills you’ve already gained through your previous education and work. This may be through formal or informal training, paid or unpaid work experience, and can earn you credit if relevant to your chosen course.
Music Industry 1: Technology is the first in a series of six core subjects taken by all students in all streams of the Bachelor of Applied Music. This subject is designed to equip students with the technological skills expected of those working at a professional level in the music industry today. The skills and knowledge acquired in this subject are crucial to students’ success in other subjects. This subject is delivered in three modules through a 1-hour lecture, 1-hour tutorial and a 2-hour practical class. Practical class is delivered in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. In the first module of this subject, students will be instructed in the high level use of word processing, databases, multimedia technologies and music notation software. Students will be required to copy scores using the latest computer notation software, and they will be required to import musical excerpts into text documents and presentation software. In the second module, students will acquire high level skills in media technologies such as internet research, web page creation, sound file and graphic uploading and downloading to and from the internet; and they will receive instruction in current MIDI (Musical Instrument Digital Interface) technologies. Students will be required to set up a web page, upload graphic (music notation) and audio files, and produce MIDI files. In the third module, students will receive instruction on acoustics, the theory and practice of recording principles, microphone types and modes of operation, personal address systems, equalisation, mixing desks, digital audio theory, signal flow and effects for live performance; and they will receive instruction and undertake exercises using the latest sequencing software. They will be required to edit sound waves and create digital multitrack recordings
Music Industry 2: Technology is the second in a series of six core subjects taken by all students in all streams of the Bachelor of Applied Music. This subject is designed to equip students with the technological skills expected of those working at a professional level in the music industry today. The skills and knowledge acquired in this subject are crucial to students’ success in other subjects. This subject is delivered in three modules, comprising a 2-hour live performance platform focusing on live performance technologies and a 2-hour class that delivered in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. In the first module of this subject, students will be instructed in, and perform using MIDI in live performance; and they will receive advanced instruction in music notation software. Students will be required to copy scores to a high standard using the latest computer music notation software. In the second module, students will be instructed in, and perform using various real-time audio manipulation computer programs such as Reason; and they will receive instruction in media technologies, namely, podcasting and internet collaboration. Students will be required to set up a web page that includes graphic (music notation) and audio files. In the third module, students will receive instruction and undertake practical exercises in signal flow and effects for live performance; and they will receive instruction and undertake exercises using the latest sequencing software. They will be required to edit sound waves, create digital multitrack recordings and synchronise audio events with video.
This is the first in a sequence of six music theory subjects. It is delivered as a one hour lecture and a one hour tutorial. The latter is conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures will be aurally reinforced through practical counterpoint exercises in tutorials through which students will acquire a thorough understanding of the principles of contrapuntal writing in two and three parts. Students will be required to present their counterpoint exercises in a music notation program, which allows immediate aural feedback of their work. Students will be required to sing and play their counterpoint exercises, which will reinforce students’ aural training and encourage development of their ‘mind’s ear’. Through the study of counterpoint, students will acquire a strong foundation in the elements of music upon which Western music developed. The significance of voice leading in the music of a variety of styles and epochs—especially contemporary popular music—will be explicitly described in lectures and tutorials.
This is the second in a sequence of six music theory subjects. It is delivered as a one hour lecture and a one hour tutorial. The latter is conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures will be aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of four-part diatonic harmony and voice leading. Students will complete harmony exercises in vocal and keyboard styles. Students will present their harmony exercises in a music notation program; and they will realise their exercises by singing, playing or using MIDI, which will reinforce their aural training and encourage development of their ‘mind’s ear’. Through the study of diatonic harmony, students will acquire a strong foundation in the elements of music upon which later music developed. By undertaking harmony exercises and harmonic analyses of excerpts from seminal diatonic compositions, students will acquire an understanding of the interrelationship of melody, harmony, dissonance, consonance, rhythm, motives and their development in the formation of musical forms. The evolution and influence of diatonic music of the past on the development of contemporary popular music, most notably on the development of popular vocal music, will be explicitly described in lectures and tutorials.
History and Analysis 2 is the second in the sequence of six subjects. This subject is delivered as a lecture and a tutorial. In the lecture, students will acquire theoretical knowledge of various music periods and styles, and analyse selected composers’ works in depth. In the tutorial, students will apply their knowledge in practice through completion of various aural analysis tasks designed to help students internalise musical elements comprising various musical styles. Through the lectures, students will acquire knowledge and appreciation music from the Baroque and Classical periods. Particular attention will be paid to outlining the connections between the development of music and other arts, as well as sociocultural changes happening in contemporary Western society. Students will analyse musical works of prominent composers from artistic, cultural and technical perspectives. Connections between the Baroque and Classical forms and styles of music and modern music practices will be emphasised and used to further contextualise the study of harmony and fundamental aural perception. In this subject, students will build on their initial ability to research and analyse music, and will gain further insights into how to review and critically evaluate musicological writings and use this knowledge to inform their musical experiences. Through the tutorial classes, students will further develop their aural skills, including notating, aurally recognising and singing intervals, scales, diatonic chords, chord inversions and progressions. Students will perform prepared melodies, sightsing and transcribe diatonic melodies in simple and compound metres, some of which will be borrowed from the Baroque and Classical repertoire. Rhythmic work will include performing prepared progressions, sightreading and transcribing rhythmic examples in simple and compound meters. Aural training software will be incorporated into this subject in a self-guided learning module.
Audio A1: Music Production is the first of six in the stream of Music Production subjects. This subject comprises two components: Production Principles and Pro Tools 101. Production Principles will equip students with fundamental skills and understanding of basic audio signal flow and gain structure, as applicable to analogue recording mediums. Students will learn about the nature of sound and will be able to discuss this and other topics studied in the class using correct terminology. Basic recording projects will be undertaken to introduce students to the industry standard audio recording equipment. Pro Tools 101 will equip students with a thorough knowledge of the fundamentals of the Pro Tools environment, in conjunction with introductory studies in digital audio theory. The course will introduce students to file systems, session structure and editing modes within the Pro Tools digital audio workstation environment through a series of exercises in recording, overdubbing and drop-in editing.
Audio A2: Music Production is the second of six in the stream of Music Production subjects. This subject comprises two components: Production Principles and Pro Tools 110. In Production Principles, students will complete an entire multitrack recording and create a digital mix to a two track finished CD using Pro Tools. This will be achieved through a combination of class and independent work. External effects, overdubbing, dropping in techniques, compression and basic mastering will be studied. Students will develop an understanding of microphone recording techniques in a studio setting. The correct positioning of microphones and the use of compression and gating for voice, guitar and drums will studied in theory and in practice. In Pro Tools 110, students will develop skills in the digital Pro Tools recording environment and develop the ability to plan and manage studio recordings with live musicians. Students will undertake the Pro Tools 110 online exam.
Audio B1: Electronic Music History is the first of six in the stream of subjects focussed on electronic music and interactive computer music systems. Contemporary electronic and electroacoustic music has a history of more than a century. The focus of this subject is the development of pre-digital electronic music. Examples of electroacoustic music, principal practitioners, and the technologies and influences on this music will be analysed. Students will learn a variety of philosophies and genres within electroacoustic music. They will learn to recognise different artists and their works. Movements such as Musique Concrete, Elektronische Musik, Futurism and soundscape composition will be examined, and the music of these movements will be studied and analysed with a view to revealing their influence on music of later periods.
Audio B2: Electronic Music History is the second of six subjects focussed on electronic music and interactive computer music systems. The focus of this subject is the development of digital electronic music. Examples of electroacoustic music, principal practitioners, the technologies and influences on this music will be analysed. Students will learn to recognise different artists and their works. Recent developments in electroacoustic music will be examined. Synthesizers, drum machines, off-the-shelf electronic musical gear, sampling and electronica will be examined to reveal their impact on the development of electroacoustic music. Recently composed seminal works will be studied and analysed with a view to revealing the compositional and technological processes utilised in their creation.
This is the third in a sequence of six music theory subjects. It is delivered as a one hour lecture and a one hour tutorial. The latter is conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of jazz harmony, jazz voice leading and musical form. Students will analyse and compose jazz harmony exercises. Students will present their jazz harmony exercises in a music notation program; and they will realise their exercises/compositions by singing, playing and/or using MIDI, which will reinforce their aural training and encourage development of their ‘mind’s ear’. Through the study of the Chord Scale Theory and jazz harmony, students will acquire a strong foundation in the elements of music that have shaped jazz. Students will learn to interpret complex chord symbols and understand the function of chords in jazz progressions. Through harmonisation exercises and harmonic analyses, students will acquire an understanding of the roles of primary chords, secondary dominants, sequential dominants, substitution dominants, modal interchange chords, blues chords, chords with special functions and non-functional chords in jazz progressions. The evolution and influence of diatonic and chromatic music of the past on the development of contemporary jazz will be explicitly described in lectures and tutorials.
Audio A3: Music Production is the third of six in the stream of Music Production subjects. This subject comprises two components: Production Principles and Pro Tools 201. Production Principles will focus on exploring the processes used by various producers (1930’s to present) in the recording sessions in relation to the social and cultural context. Various concepts such as post production, printing effects, submixing, compressors and gates usage will be studied in detail. Students will apply their theoretical knowledge through practical exercises using digital audio workstation environments. During the class students will learn to position microphones appropriately for lead and backing vocals, acoustic and electric guitars, and drums in a variety of simulated environments. Pro tools 201 will further build on concepts learned in the first year and continue developing skills in Pro Tools. This will be achieved through a combination of class and independent work. External effects, overdubbing, dropping in techniques, compression and basic mastering will be studied in greater detail. Students will further develop an understanding of microphone recording techniques in a studio setting. The correct positioning of microphones and the use of compression and gating for voice, guitar and drums will be studied in theory and practice. Students will develop skills in the digital Pro Tools recording environment and develop the ability to plan and manage studio recordings with live musicians. Students will undertake the Pro Tools 201 online exam.
Audio A4: Music Production is the fourth of six in the stream of Music Production subjects. This subject comprises two components: Production Principles and Pro Tools 210M. Production Principles will focus on exploring the processes used by selected producers. Production processes appropriate to various musical styles, concepts of post production, printing effects, submixing, compressors and gates usage will be studied in detail. Students will extend their knowledge through class discussions and research, and apply their theoretical knowledge through practical exercises using digital audio workstation environments. During this class students will continue to improve their skills of recording in simulated environments, including positioning microphones appropriately for a variety of instruments. Pro Tools 210M covers techniques for working with Pro Tools systems in a professional music production environment. Concepts and skills learned in 101, 110, and 201 are reinforced with practical music-specific examples. Students will develop skills in preparing a session, tracking and overdubbing, using virtual instruments, MIDI production, professional editing, sampling, professional audio editing, arranging and producing, mixing and automation and printing mixes. Students will undertake the Pro Tools 210M online exam.
Audio B3: Electronic Sound Creation introduces students to the fundamentals of sound. Students will be introduced to the principles of the physics of sound, and psychoacoustics. Students will analyse sounds aurally and visually through appropriate computer software applications. This subject will also explore the structural components of sound waves, different sound visualisation and graphing systems, and basic sound manipulation techniques. In practical exercises, students will synthesize sounds from basic sine waves to more complex sounds, using appropriate sound synthesis software such as Max/MSP.
Audio B4: Electronic Sound Creation further develops students’ understanding of the fundamentals of sound. Students will be introduced to advanced principles of the physics of sound and psychoacoustics. Students will analyse complex sounds aurally and visually through appropriate computer software applications. This subject will further explore the structural components of sound waves, sound visualisation and graphing systems, and sound manipulation techniques. In practical exercises, students will use basic sound waves to synthesize complex sounds, using appropriate sound synthesis software such as Max/MSP.
Music Industry 5: Business Applications comprises two components: Business (2 hour lecture), and Aesthetics and Research Seminar (2 hours). The aim of this course is to prepare students for independent careers as performers, composers or music producers through participation in specially designed projects that emulate work practices in the music industry. Students will continue to develop musical expertise, knowledge and skills in the areas of project management, collaboration and business management. The Business component will investigate the key elements of entrepreneurial thinking and business creation as well as the current climate of the music industry so that students can apply entrepreneurial thinking to their own prospective music industry careers. Students will compile individual and group work portfolios that may include self-promotional materials, business pitching, group CD production, product launch and online e-commerce projects. Guidance in project management, business, strategic and financial planning will facilitate the research projects to be undertaken. In the Aesthetics and Research Seminar, various philosophies of aestheticism and a variety of music research methodologies will be explored. The influence of culture on the perception and interpretation of music, and the role of musical structure on aesthetics will be investigated. Topics for investigation will include the notions of music being intrinsically aesthetic; the notions of banality and cliché in reference to musical and artistic sentimentality; emotional expression in music; and notions of the intrinsic value of music. The differences and applications of quantitative and qualitative research will be explored. Various modes for interpreting and presenting research data will be investigated. Students will acquire collaborative and individual investigative skills in preparation of group research projects.
Audio A5: Music Production is the fifth of six in the stream of Music Production subjects. This subject comprises two components: Advanced Tracking and Session Management and Pro Tools 210P. Advanced Tracking and Session Management focuses on developing individual creative skills in microphone placement and effects through the recording of the acoustic instruments to create a naturalistic recording. Students will carry out practical tasks and complete documentation of the recording practices. Students will liaise with performance and composition students to organise and book recording sessions. Students will produce professional level recordings that are suitable for upload to social networking websites and general promotional use. Key activities will include planning recording sessions, allocating time to achieve session goals, directing recording sessions, engineering and mixing. Students will develop communication and team working skills in the group and solo recording sessions and strive to inspire creativity in clients. During the first semester of Pro Tools 210P, students will develop techniques for working with Pro Tools systems in a professional music production environment. Concepts and skills learned in 101, 110, 201 and 210M are reinforced with practical music-specific examples. Students will begin to acquire skills in synchronizing Pro Tools for audio post, creating linear and non-linear videos, importing digital media into the Pro Tools timeline, working with the video track, recording and editing dialog, organizing sessions, mixing to picture, using layback options, synchronizing, mixing and using DSP, working with the Advanced Authoring Format and Media Exchange Format, and analog and digital television standards.
Audio A6: Music Production is the last of six in the stream of Music Production subjects. This subject comprises two components: Advanced Tracking and Session Management and Pro Tools 210P. Advanced Tracking and Session Management focuses on developing individual creative skills in microphone placement and effects through the recording of the acoustic and electronic instruments. Students will be required to express their creative ideas utilising all tools and skills acquired in the sequence of six Music Production subjects. Students will be required to liaise with performance and composition students, organise and book recording sessions and complete advanced documentation of their recording practices. Students will produce professional level recordings that are suitable for commercial release. Key activities will include planning recording sessions, allocating time to achieve session goals, directing recording sessions, engineering and mixing. Students will further develop communication and team working skills in the group and solo recording sessions and inspire creativity in clients. During the second semester of Pro Tools 210P, students will further develop techniques for working with Pro Tools systems in a professional music production environment. Concepts and skills learned in 101, 110, 201 and 210M are reinforced with practical music-specific examples. Students will acquire and continue developing skills in synchronising Pro Tools for audio post, creating linear and non-linear videos, importing digital media into the Pro Tools timeline, working with the video track, recording and editing dialog, organizing sessions, mixing to picture, using layback options, synchronising, mixing and using DSP, working with the Advanced Authoring Format and Media Exchange Format, and analogue and digital television standards. Students will undertake the Pro Tools 210P online exam.
Audio B5: Electronic Interactive Systems will equip students with a thorough understanding of the processes and applications of audio design for use in live performance, composition, sound design and production. Emphasis is placed on the interactive possibilities of the Max/MSP. Students will learn to use and map a number of instruments and censors (e.g., Wii controllers, Teabox) that measure light, pressure, heat, velocity and other properties of the environment surrounding the computer. Students will be introduced to the methods of using motion capture in creative music practice. The final class project will allow students to apply knowledge acquired during the semester and prepare for the larger scale project carried out in the following semester.
Audio B6: Electronic Interactive Systems will further develop students’ understanding of the processes and applications of audio design for use in live performance, composition, sound design and production. Emphasis will be placed on the interactive possibilities of the Max/MSP. In a number of advanced exercises, students will use and map a number of instruments and censors connected to computers. Students will apply methods of motion capture in creative music projects. At the end of the semester, students will carry out a large interactive project, showcasing knowledge and skills developed over three years of instruction.
This subject deals with the theory of creativity in a digital environment. Definitions of ‘technology’ will be examined to reveal the roles that technologies have played in the development of human achievement. Several modes for making music with technologies will be examined. These will include the use of the computer as a musical tool, the computer as a musical instrument and the computer as a musical medium. Philosophical issues surrounding the use of technologies in the creative process will be studied to reveal more productive approaches to the implementation of musical ideas. Howard Gardner and Mihaly Csikszentmihalyi’s theories on the psychology of creativity, creative flow and music making will be examined. By the end of this unit, students will be able to recognise the best ways to approach digital technology in order to amplify musical ideas. Students will acquire strategies to enhance productivity and remain in a natural, creative state of mind.
This subject involves the practical application of the theories of creativity in a digital environment that were studied in the first semester. Students will undertake a number of group and individual projects involving the creation of interactive sound installations. They will utilise and design various technological interfaces in order to amplify their musical ideas. Through these projects, students will acquire an understanding of several modes for making music with technologies. These will include the use of the computer as a musical tool, the computer as a musical instrument and the computer as a musical medium.
Audio D5: Sound Design will introduce students to the history of sound design, various sound design platforms and MIDI orchestration in relation to the production of sound design. This subject will explore industry roles and skills of a contemporary sound designer. Students will be introduced to foley, diegetic and non-diegetic sounds for film and games, and the affective relationship between sound and image. Students will be required to produce sound designs for moving images within short time frames, thereby emulating real conditions in the film and game audio industries.
Audio D6: Sound Design aims to further develop students’ skills and abilities to compose music and sound design for film and games using appropriate design and composition platforms. Students will further develop their understanding of the history of film and game sound design and music, methods and techniques of creating sound designs, and the role(s) and approaches of various film composers and sound designers. They will also explore and use various technologies for composition and sound design and develop their understanding of affective relationship between sound and image to an advanced level. Students will be required to produce high quality sound designs for moving images within short time frames, thereby emulating real conditions in the film and game audio industries.
Through performing in ensembles, students will acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Students learn the fundamentals of sound production on the selected instruments including tuning, sight reading, repertoire, instrument care and maintenance, posture and fingering positions (where applicable) as well as ensemble rehearsal and performance demeanour and protocols. Students choose two 1-hour practical classes from the options listed below. NOTE: The following classes must be taken for two semesters and may be taken for one or two years.
NOTE: The following classes must be taken for two consecutive semesters but cannot be repeated for more than one year.
Students enrolled in this class must continue to study the instrument that they selected in Instrumental Studies 1. Through performing in ensembles, students will acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Students learn the fundamentals of sound production on the selected instruments including tuning, sight reading, repertoire, instrument care and maintenance, posture and fingering positions (where applicable) as well as ensemble rehearsal and performance demeanour and protocols. Students choose two 1-hour practical classes from the options listed below. NOTE: The following classes must be taken for two semesters and may be taken for one or two years.
Music in Society 1 comprises a lecture and a tutorial. In the lecture, students will examine historical and social roots of ritual music in Western and non-Western cultures, explore different styles of ritual music, and contextualise technical knowledge acquired in the tutorial. Through lectures, investigative and comparative studies students will acquire conceptual understanding of the roles of music in society across the globe. The lecture will be divided into three main modules. Module 1 will examine religious music of Europe (Catholic Church), China, Ethiopia, North America (Native American), Australia (Aboriginal) and sun-Saharan Africa. Module 2 will concentrate on music for entertainment, including court music, dance music and theatre music of Europe, Japan, China, Java, Africa, Sumatra and Thailand. Module 3 will focus on the music in life rituals such as marriage rituals and the right of passage celebrations (21st birthday, BarMiztva). Students will apply theoretical knowledge acquired during the lecture in their tutorial classes, further developing their performance skills.
Music in Society 2 (Arts and Ideas) comprises a lecture and a tutorial. In the lecture, students will explore the transformation of an artist in music of Western and non-Western cultures from the 18th century until today. The subject will be divided into three main modules. Module 1 will examine the position of an artist as one who introduces the idea of organisation, order and logic in music. The focus of this module will be classical music in Europe. Module 2 will concentrate on the artist as the centre of his/her own universe, exploring European Romantic music in connection with other arts. Module 3 will focus on the artist as a mirror of the political state of the contemporary society, exploring the world music of the 20th and 21st centuries. Topics may include the influence of wars, various political systems, state censorship (e.g., Communism) and the influence of technological advances on the development of musical styles. Students will apply theoretical knowledge acquired during the lecture and tutorial, further developing their performance skills.
Film Scoring 1 focuses on developing students’ understanding of the historical development of the conventions and musical language in film music. Particular attention will be paid to the advances in the technical aspects of film music including the development of the instrumental cue sheet and diegetic and non-diegetic music. Students will study contributions of the key film composers through detailed analysis of their styles and specific works. Research and essay assignments will allow students to further expand their knowledge of film scoring and express their thoughts succinctly and clearly in written form. Completing the final scoring assignment will call upon students’ skills and knowledge acquired during the semester. Introduction to iMovie and future tendencies in film music will conclude this subject.
Film Scoring 2 focuses on various genres of post-1950s film music in evaluating the role and function of music in dramatic contexts. The study of the use of music in different genres of film (animation, musicals, documentaries, western, science fiction, drama, action, etc.) will provide a comprehensive context for the further development of concepts, knowledge and skills in creating music for film. Review and analysis tasks will be undertaken with the central focus on emotions and feelings that elucidate the dramatic content of film sequences. Students will acquire knowledge of the ways in which music is synchronised with film, consolidating their knowledge of design and synchronisation of a film music cue. Assignments will include a composition and synchronisation assignment relating to click track mathematics, a music editing assignment in which students source appropriate music to be used as underscoring for a given film excerpt, and an end of semester examination comprising a series of questions relating to the various film genres discussed throughout the semester.
Songwriting 1 is the first in a sequence of four Songwriting subjects. Melody, harmony, lyric, form, groove and style or character are explored with increasing sophistication in this subject sequence. Students undertaking Songwriting 1 will analyse many of the musical devices and conventions that exist in popular and jazz song genres and then apply this knowledge to their own compositional endeavours. This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes ‘reach out’ events in the community in which the course operates.
Songwriting 2 is the second in a sequence of four Songwriting subjects. In Songwrititng 2, students will analyse many of the musical devices and conventions that exist in popular and jazz song genres and then apply this knowledge to their own compositional endeavours. Songwriting 2 will primarily deal with lyric writing and form, with some focus on groove, style and character. This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes ‘reach out’ events in the community in which the course operates.
Elective: Acting 1 is the first in the sequence of four subjects. This subject will introduce students to the basic acting principles of improvisation, warm-up for performance and basic vocal technique (e.g. projection, articulation and breath control). At the end of the semester, students will be required to present a classical Australian poem or a Shakespearean sonnet, showing connection to the text and understanding of the imagery in selected pieces. Throughout the semester, students will increase their awareness of ‘self’ as performers and learn to evaluate their own work through keeping a logbook to document their progress and discoveries within the workshop.
Elective: Acting 2 is the second in the sequence of four subjects. This subject will continue to develop students’ acting techniques including improvisation and vocal technique (e.g. projection, resonance, articulation and breath control). Students will continue to increase their awareness of ‘self’ as performers and continue to evaluate their own work through keeping a logbook to reflect on their progress and discoveries within the workshop. Students will develop a sense of play and imaginative response, through games, storytelling, improvisation and impulse work, which will also assist in the development of performance-making skills. Students will investigate storytelling and devising skills through the development of a narrative for a performance based on personal experience. Students will be introduced to the basic stagecraft elements that can be used in the staging of a self-devised performance lasting 5 to 10 minutes.
Elective: Dance 1 is the first in the sequence of four subjects. This subject is delivered through a one-hour jazz and contemporary workshop and a one-hour dance technique class. Students will learn, develop and refine their jazz and contemporary dance skills. Class work will introduce and develop basic techniques in the following skill areas: barre work, stretching, ports de bras, centre work, adagio, turning and allegro. Students will be graded on the ongoing basis on their ability to perform various in-class tasks, evaluate their own and others’ performances, and demonstrate development of the dance skills during the semester. The dance technique exam will assess students’ body awareness and control, alignment of upper and lower body, balance, strength, flexibility, musicality and sense of flow, presence and performance, professional etiquette and understanding of jazz and contemporary dance style and terminology. The written assignment and presentation will require students to research, design and present a warm up or movement sequence in class
Elective: Dance 2 is the second in the sequence of four subjects. This subject is delivered through a one-hour tap dance styles workshop and a one-hour dance technique class. Students will learn, develop and refine their tap dance skills. This course will encourage students to develop their own unique dance performance style through the study of innovative choreographic processes and a wide range of contemporary dance techniques. Class work will introduce and develop basic techniques in the following skill areas: isolation, stretching, posture principles, body alignment, balance and control, coordination, turning, flexibility and stamina. Students will be graded on an ongoing basis on their ability to perform various in-class tasks, evaluate their own and others’ performances, and demonstrate development of dance skills. Students will broaden their movement vocabulary and further develop their range of movement dynamics by learning to respond to a variety of musical examples featuring different metres, rhythmic formulas, tempos and moods. The dance technique exam will assess students’ body awareness and control, alignment of upper and lower body, balance, strength, flexibility, musicality and sense of flow, presence and performance, professional etiquette and understanding of tap dance styles and terminology. The written assignment and presentation will require students to research, design and present a warm up or movement sequence in class
Musicianship Studies 1 is designed to complement History and Analysis 1 and Theory 1. Through additional instruction and supplementary drilling exercises, students will be able to reinforce their knowledge of theory and aural skills. Students will perform and aurally recognise melodies, intervals, scales, chords and rhythms with a heightened awareness. Through a variety of practical exercises, students will sharpen their intellectual and physical ability to identify and analyse horizontal and vertical organisation of music. This subject will follow a sound developmental approach, introducing and practicing simple concepts such as beat, pitch and rhythm before undertaking more complex exercises, melodic and rhythmic transcription tasks and harmonic transcriptions. Aural training software will be incorporated into this subject in a self-guided learning module.
Musicianship Studies 2 is designed to complement History and Analysis 2 and Theory 2. This subject will follow a sound developmental approach, reinforcing theoretical knowledge and skills acquired in the first semester, and undertaking more complex theory exercises, melodic and rhythmic transcription tasks and harmonic progressions. Through a wide variety of supplementary drilling exercises, students will further develop their intellectual and physical ability to identify and analyse horizontal and vertical organisation of music. Students will perform and aurally recognise melodies and rhythms in simple and compound meters, intervals, scales, chord inversions and chord progressions. Exercises will include 2 and 3-part singing and rhythmic exercises of the repertoire that may be borrowed from the Baroque and Classical eras. Aural training software will be incorporated into this subject in a self-guided learning module.
Through performing in ensembles, students will acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Students learn the fundamentals of sound production on the selected instruments including tuning, sight reading, repertoire, instrument care and maintenance, posture and fingering positions (where applicable) as well as ensemble rehearsal and performance demeanour and protocols. Students choose two 1-hour practical classes from the options listed below.NOTE: The following classes must be taken for two semesters and may be taken for one or two years.
Students enrolled in this class must continue to study the instrument that they selected in Instrumental Studies 3. Through performing in ensembles, students will acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Students learn the fundamentals of sound production on the selected instruments including tuning, sight reading, repertoire, instrument care and maintenance, posture and fingering positions (where applicable) as well as ensemble rehearsal and performance demeanour and protocols.Students choose two 1-hour practical classes from the options listed below.NOTE: The following classes must be taken for two semesters and may be taken for one or two years.
Latin Music 1 comprises a lecture and a tutorial. In the lecture, students will examine historical and social roots of Afro-Cuban music, explore different styles, rhythms and basic playing techniques, and contextualise technical knowledge acquired in the tutorial. Through investigative and comparative studies, students will acquire conceptual understanding of Afro-Cuban music, conduct research and complete a written assignment on a given topic related to Afro-Cuban music. Through solo and group practice, students will learn selected Afro-Cuban pieces and perform them in class. Overall, this class will further advance students’ performance skills and appreciation of the diversity of the world music styles.
Elective: Latin Music 2 comprises a lecture and a tutorial. In the lecture, students will examine historical and social roots of Brazilian music, explore different styles, rhythms and basic playing techniques, and contextualise technical knowledge acquired in the tutorial. Through investigative and comparative studies students will acquire conceptual understanding of Brazilian music, conduct research and complete a written assignment on a given topic related to Brazilian music. Through solo and group practice students will learn selected Brazilian pieces and perform them in class. Overall, this class will further advance students’ performance skills and appreciation of the diversity of the world music styles.
Film Scoring 3 focuses on composing for documentaries and corporate videos. Students will learn about practical aspects of carrying out film composition projects including budgeting, scheduling, calculating SMPTE, developing scoring concepts and using technology for recording and timing music. This subject aims to give students a thorough understanding of the application of contrapuntal composition to film composition. Students will study compositional techniques employed by various film composers, and apply their knowledge in scoring a series of short musical excerpts to accompany film sequences. Current technology will be used in this class to synchronise music scores to film. Students will further their ability to evoke an emotional response and reflect/enhance dramatic action in the film with music. The analysis of the film industry structure will enable students to perform in accord with the defined industry roles. Students will create scoring exercises throughout the semester, one of which will include a cuing exercise using a Yamaha Synclavier.
Scoring for Media focuses on composing for the web and TV commercial advertisements. Through research and various analytical activities, students will examine the requirements and standards set in place by the industry, and will compose music that reflects their understanding and ability to follow the standards whilst demonstrating creativity and independent thinking. Students will learn the latest software geared toward composing for media and employ the appropriate software in their class projects. Completing class assignments and exercises will help students solidify the knowledge and skills acquired during the semester. Students will continue to view and analyse existing, exemplary applications of the concepts studied in class in commercial music.
Songwriting 3 is the third in a sequence of four Songwriting subjects. Melody, harmony, lyric, form, groove and style or character are explored with increasing sophistication in these subjects. The focus of Songwriting 3 is feel, groove, mood, style, character and archetype. This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes ‘reach out’ events in the community in which the course operates.
Songwriting 4 is the last in a sequence of four Songwriting subjects. Melody, harmony, lyric, form, groove and style or character are explored with increasing sophistication in these subjects. The focus of Songwriting 4 is advanced Logic Audio Pro techniques, particularly as applied to effective song crafting and demoing. Students will develop their abilities to edit and refine songs and to use Logic Pro for song creation, manipulation and arrangement. This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes ‘reach out’ events in the community in which the course operates.
Elective: Dance 4 is the last in the sequence of four subjects. This subject is delivered through a one-hour jazz, tap and contemporary dance styles workshop and a one-hour dance technique class. Dance styles workshop will further develop strong technique of jazz, tap and contemporary styles, incorporating a greater range of dynamics including jumps, turns and travel steps, extending flexibility, strength and working through the whole body with energy. Students will learn more complex dance routines from contemporary music theatre productions. More complex dance routines will be choreographed and rehearsed. In the dance technique class, students will continue to develop techniques in the following skill areas: barre work, stretching, ports de bras, centre work, adagio, turning and allegro.
Elective: Reggae and Caribbean Music comprises a lecture and a tutorial. In the lecture, students will examine historical and social roots of Reggae and Caribbean music, explore different styles, rhythms and basic playing techniques, and contextualise technical knowledge acquired in the tutorial. Through investigative and comparative studies students will acquire conceptual understanding of the Reggae and Caribbean music, conduct research and complete a written assignment on a given topic related to Reggae and Caribbean music. Through solo and group practice students will learn selected Reggae and Caribbean pieces and perform them in class. Overall, this class will further advance students’ performance skills and appreciation of the diversity of the world music styles.
Elective: Gypsy and European Folk comprises a lecture and a tutorial. In the lecture, students will examine historical and social roots of gypsy and folk music, explore different styles, rhythms and basic playing techniques, and contextualise technical knowledge acquired in the tutorial. Through investigative and comparative studies students will acquire conceptual understanding of gypsy and folk music, conduct research and complete a written assignment on a given topic related to gypsy and folk music. Through solo and group practice students will learn selected pieces and perform them in class. Overall, this class will further advance students’ performance skills and appreciation of the diversity of the world music styles.
In Composition Studies students acquire compositional techniques that include motivic development, extension of themes, development of rhythmic devices, use of texture as a compositional determinant and creation of convincing musical forms. Students will concentrate on composing for the orchestra, learning ranges of the instruments, specifics of the playing techniques and transposition. Knowledge and skill in the use of appropriate voicing and timbre combinations, and the practical application of contrapuntal writing in the Baroque style are central elements of this study. Students will develop more extensive compositional resources to support their developing conceptual and expressive palette. Students will aim to develop considerable fluency in stylistic part writing and part ‘interlocking’. Through a variety of ongoing exercises in analysis and composition students will consolidate knowledge of technical and aesthetic aspects of composing and continue to develop a vocabulary of compositional techniques and ideas.
In Composition Studies students continue to develop compositional techniques that include motivic development, extension of themes, development of rhythmic devices, use of texture as a compositional determinant and creation of convincing musical forms. Composition exercises will include writing for traditional and unconventional instrumental groups. Students will develop more extensive compositional resources to support their developing conceptual and expressive palettes. Through a variety of ongoing exercises in analysis and composition, students will consolidate knowledge of technical and aesthetic aspects of composing and continue to develop a vocabulary of compositional techniques and ideas.
This is the fifth in a sequence of six music theory units. It is delivered as a one hour lecture and a one hour tutorial. The latter is conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of chromatic harmony, voice leading and musical form. Students will complete harmony exercises in vocal style, keyboard style and mixed instrumental style. Students will present their chromatic harmony exercises in a music notation program; and they will realise their exercises/compositions by singing, playing and/or using MIDI, which will reinforce their aural training and development of their ‘mind’s ear’. Through the study of chromatically altered tendency tones, tonicisation, modal mixture, chromatically altered chords and extended chords, students will acquire a strong foundation in the elements of music that shaped the music of the late Classical, Romantic and to some extent the Impressionistic eras. Through harmonisation exercises and harmonic analyses, students will acquire an understanding of how tonicisation, modal mixture and chromatically altered chords can affect modulations to distantly related keys. By undertaking harmony exercises and structural analyses of excerpts from seminal chromatic compositions, students will acquire an understanding of the interrelationship of melody, harmony, dissonance, consonance, rhythm, motives and their development in the formation of musical forms. The evolution and influence of chromatic music of the past on the development of contemporary music, most notably on the development of experimental jazz, will be explicitly described in lectures and tutorials.
Studio Teaching 1 aims to provide students with the basic principles and practical applications of teaching the beginning instrumental or voice student in the studio setting. Through the study of learning theories and perspectives in pedagogical approaches, students will develop a foundation for teaching beginning instrumental or vocal students. Students will analyse curriculum design and implementation to engender a musically creative and expressive teaching and learning environment. The study of interpersonal and communication skills in relation to effective teaching practices will enable students to create positive teacher-student relationships. At the completion of the unit, students will have created lesson plans, repertoire lists, strategies for overcoming common technical issues, and a pedagogical toolbox to draw upon when commencing teaching.
Building on concepts learned in Studio Teaching 1, students will undertake lesson observations and a teaching practicum of five lessons. Ongoing reflection and refinement in their practicum teaching will enable students to develop personal philosophies as a basis for their pedagogical approach. Students will undertake a survey of teaching methods related to their instrument and examine recent pedagogical research, including strategies for motivating students. Music examination curricula, with a focus on VCE Music Performance, will provide students with knowledge and skills required to satisfy these assessment requirements. The responsibilities, processes and logistics for setting up a studio will be investigated, culminating in the creation of a music studio plan. At the completion of this unit, students will be prepared to commence teaching in their studio or in a school setting, with a collection of pedagogical tools and ideas to teach a diverse range of learners. The importance of undertaking ongoing professional learning will be reinforced through the various learning tasks in this unit.