Year 1 Core
MUS101
Music Industry 1 - Technology
6 pts
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
MUS102
Music Industry 2 - Technology
6 pts
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.
MUS103
Theory 1: Voice Leading
3 pts
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.
MUS104
Theory 2: Diatonicism
3 pts
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.
MUS105
History And Analysis 1: Elements Of Music
3 pts
History and Analysis 1 is the first in the sequence of six subjects. This subject is delivered as lecture and 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 of Western music from the ancient times up to the Baroque era. Particular attention will be paid to outlining the connections between the development of music, the arts and sociocultural changes happening in contemporary Western society. Students will analyse selected musical works from the artistic, cultural and technical perspectives. The connections between the earliest 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 begin to research and analyse music of the period, and will start to develop the capacity to review and critically evaluate musicological writings and use this knowledge to inform their musical experiences.
Through the tutorial, students will develop their aural and music notation skills. They will learn to aurally recognise and sing melodic and harmonic intervals within an octave, major, minor and pentatonic scales and diatonic chords. Students will perform prepared melodies, sightsing and transcribe simple diatonic melodies, some of which will be borrowed from the Medieval and Renaissance music repertoire. Rhythmic work will include performing prepared progressions, sightreading and transcribing rhythmic examples in 2/4, 3/4 and 4/4. Students will also learn to sing, aurally recognise and notate diatonic triads and inversions as well as various cadences. Aural training software will be incorporated into this subject in a self-guided learning module.
MUS106
History And Analysis 2: Baroque And Classicism
3 pts
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.
MUS111
Performance A1: Music In Society
6 pts
Performance A1: Music In Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the first of six subjects designed to equip students with the knowledge and comprehensive competencies required to perform music of various styles and epochs in the context of celebratory functions, formal ceremonial occasions and informal social gatherings. Students will reflect upon the roles of music in society across time and cultures, and apply this knowledge in their performance. Across the six subjects, students will gradually develop solo and group performance skills on more than one instrument and master an extensive repertoire that reflects diverse traditions and imperatives of our multicultural society. Students will acquire the ability to plan, organise and present themselves and their music to audiences of different ages and generations in a professional and culturally appropriate manner.
Repertoire class comprises a lecture (1 hour) and a tutorial (1 hour). 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, and investigative and comparative studies, students will acquire a 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, Bar Miztvah). Students will apply theoretical knowledge acquired during the lecture in their tutorial classes, further developing their solo and ensemble performance skills.
In the tutorial, students will learn to plan, design and present performances appropriate for celebratory events such as weddings and 21st birthdays and develop an understanding of band dynamics, repertoire, protocols and behaviours appropriate for these events. Students will be placed into bands and will be expected to rehearse and perform selected repertoire during the class time. Students will produce music arrangements from lead sheets suitable for the class requirements and the band’s performance level, and perform their arrangements in simulated gigs at the end of the semester.
Second Study Instrument class (selected from voice, guitar, bass, drums or keyboard) broadens students’ general musical knowledge through playing and arranging for other instrumental groups. Students will attend weekly group lessons with a specialist teacher and learn to take care of the instrument, tune it and perform technical work and repertoire on the instrument. Students will have opportunities to perform short solos and simple ensemble parts during this class. Students studying guitar must borrow or hire guitars, and students studying drums must purchase drum sticks and a practise pad.
Ensemble class offers ongoing performance opportunities that allow students to develop and refine their group performance skills relevant to the live music industry. Students further improve their performance, teamwork, leadership and communication skills through the study of the theoretical, practical and psychological aspects of performance presentation. Students actively participate in class as performers and audience members, supporting each other and providing feedback. Skills acquired in this class will help students in mastering extensive musical material in the Repertoire class.
MUS112
Performance A2: Music In Society
6 pts
Performance A2: Music In Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the second of six subjects designed to equip students with the knowledge and comprehensive competencies required to perform music of various styles and epochs in the context of celebratory functions, formal ceremonial occasions and informal social gatherings. Students will continue to examine the roles of music in society across time and cultures, and apply this knowledge in their performance. Students will consolidate and expand their knowledge and solo/group performance skills as they continue to acquire a more extensive repertoire and explore further the musical, organisational and behavioural demands of performing at functions, environments and events. Students will continue to arrange music for these performances and broaden their knowledge of instruments that are unfamiliar to them.
Repertoire class comprises a lecture and a tutorial. In the lecture, students will explore the transformation of an artist in the music of Western and non-Western cultures from the 18th century until today. Lecture 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 technological advances on the development of musical styles. Students will apply theoretical knowledge acquired during the lecture in their tutorial classes, further developing their solo and ensemble performance skills.
In the tutorial, students will apply their theoretical knowledge in mastering a wider repertoire of contemporary commercial music. Students will further develop their skills of planning, designing and presenting performances appropriate for various celebratory events as well as understanding of band dynamics, repertoire, protocols and behaviours appropriate for these events. Students will be placed into bands and will be expected to rehearse and perform selected repertoire during the class time. Students will produce music arrangements from lead sheets and perform them in simulated gigs at the end of the semester. Arrangements must be suitable for the class requirements and the band’s performance level. Students will be required to demonstrate highly developed arranging, organisational and performance skills in this class.
MUS113
Performance B1: Principal Study
3 pts
Performance B1: Principal Study comprises two components: Performance Repertoire and Technical Work. Principal Study is designed to develop students’ technical expertise on the chosen instrument, aesthetic decision making skills in solo performance as well as performance planning, presentation and evaluation skills. Students must successfully pass the Recital assessment in order to pass this subject.
In Performance Repertoire class students will receive individual instruction on the principal instrument from music industry experts. Repertoire selections will vary depending on students’ individual performance abilities and needs, and will aim to develop students’ tone production, articulation technique, rhythmic skills and stylistic interpretation. At the end of the semester students will be required to perform a 15-minute recital comprising at least three works selected from three different repertoire lists, supplied by the teacher. The recital program must be approved by the teacher in advance of the recital date.
In Technical Work class students will receive group instruction. This class will be tailored to develop participants’ individual and group performance skills with consideration for Occupational Health and Safety principles for musicians. Students will perform a wide variety of technical exercises on the principal instrument and engage in ongoing problem-solving exercises requiring them to evaluate own and each other’s performance and suggest methods and techniques for improvement.
MUS114
Performance B2: Principal Study
3 pts
Performance B2: Principal Study comprises two components: Performance Repertoire and Technical Work. Principal Study is designed to continue developing students’ technical expertise on the chosen instrument, aesthetic decision making skills in solo performance as well as performance planning, presentation and evaluation skills. Students must successfully pass the Recital assessment in order to pass this subject.
In Performance Repertoire class students will receive individual instruction on the principal instrument from music industry experts. Repertoire selections will vary depending on students’ individual performance abilities and needs, and will continue to develop students’ tone production, articulation technique, rhythmic skills and stylistic interpretation. At the end of the semester students will be required to perform a 15-minute recital comprising at least three works selected from three different repertoire lists, supplied by the teacher. The recital program must be approved by the teacher in advance of the recital date, and must show skill improvement compared to the previous semester.
In Technical Work class students will receive group instruction. This class will be tailored to continue developing participants’ individual and group performance skills with consideration for Occupational Health and Safety principles for musicians. Students will perform a wide variety of progressively more complex technical exercises on the principal instrument and engage in ongoing problem-solving exercises requiring them to evaluate own and each other’s performance and suggest methods and techniques for improvement. Students will have a variety of opportunities to perform in front of an audience, and will be required to attend a minimum of three performance seminars per semester.
Year 2 Core
MUS201
Music Industry 3 - Business Applications
6 pts
Music Industry 3: Business Applications comprises two components: Music Business (2 hour lecture) and Seminar (2 hours). The content of the seminar differs depending on the stream: performance and music theatre students take Performance Platform, composition students take Composition Seminar, and audio production students take Live Sound Production.
Music Business will focus on copyright ownership and exploitation, the role of publishers and copyright collection societies. Students will examine in detail the roles of managers, booking agents and record companies in the exploitation of artists and their works.
Performance Platform will focus on planning, organising, preparing, facilitating and presenting music to discriminating audiences. Students will gain knowledge and develop skills for successful undertaking of self-initiated and self-directed projects, reflective thinking and practice, and critical analysis and evaluation of their own and others' work. Students will acquire concepts, knowledge, understanding and skills in presenting performances that are consistent with professional industry practice.
Composition Seminar will comprise three types of activities: seminar presentations, critical listening, and performance presentations. Students will broaden their musical knowledge through exposure to various musical styles with a focus on ‘fringe’ and ‘experimental’ music. Through critical listening activities, students will develop their analytical listening skills through evaluating each others’ music, justifying their own work, and receiving critical comments from the composer cohort. Through performance presentations, students will develop skills in preparing material for performances, organising rehearsals, conducting/directing rehearsals and taking ‘ownership’ in the realisation of their work. The composition seminar will also explore music industry opportunities for composers, identifying main music funding bodies and support organisations for composers.
Live Sound Production will focus on planning and implementing analogue audio production for live performance. Students will learn to create stage plans, equipment lists, microphone plots; and develop strategies for the time alignment, use of crossover systems, the provision of foldback and system tuning techniques for foldback and front of house audio systems. Students will liaise with artists and technical personnel in workplace simulated environments, including mixing live performances.
MUS202
Music Industry 4 - Business Applications
6 pts
Music Industry 4: Business Applications is a continuation of Music Industry 3 and comprises two components: Music Business (2 hour lecture) and Seminar (2 hours). Seminar content differs depending on the stream: performance and music theatre students take Performance Platform, composition students take Composition Seminar, and audio production students take Live Sound Production.
Music Business class will introduce students to the basics of business planning and organisation, business management and administration, contracts, music licensing and various associated rights in the music industry. Students will acquire knowledge and skills required to operate successfully in the music industry. Students will investigate and meet music industry standards with reference to business and administrative criteria.
Performance Platform will focus on planning, organising, preparing, facilitating and presenting music to discriminating audiences. Students will further develop knowledge and skills for successful undertaking of self-initiated and self-directed projects, reflective thinking and practice, and critical analysis and evaluation of their own and others' work. Students will continue to develop their knowledge and skills in presenting performances that are consistent with professional industry practice.
Composition Seminar will comprise three types of activities: seminar presentations, critical listening, and performance presentations. Students will continue to broaden their musical knowledge through exposure to various musical styles with a focus on ‘fringe’ and ‘experimental’ music. Through critical listening activities, students will further develop their analytical listening skills through evaluating each others’ music, justifying their own work, and receiving critical comments from the composer cohort. Through performance presentations, students will further develop skills in preparing material for performances, organising rehearsals, conducting/directing rehearsals and taking ‘ownership’ in the realisation of their work. The composition seminar will also explore music industry opportunities for composers, identifying main music funding bodies and support organisations for composers with practical exercises in project proposals and funding applications.
Live Sound Production will focus on planning and implementing digital audio production for live performance. Students will learn to create advanced stage plans, complex equipment lists, microphone plots; and develop strategies for the use of digital time alignment and equalisation systems, and digital mixing systems. Students will develop skills for digitally recording live events. Students will liaise with the artists and technical personnel in a workplace simulated environment, including digital mixing of live.
MUS203
Theory 3: Jazz Harmony
3 pts
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.
MUS204
Theory 4: Arranging
3 pts
This is the fourth 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 arranging for various ensembles. This subject focuses on the practical applications of the voice leading techniques and harmonic practices studied Theory 1, Theory 2 and Theory 3. Students will analyse, compose and arrange jazz harmony exercises for ensembles in two to five parts. Various arranging practices will be studied and applied in this subject including the principles of parallel and contrapuntal voice leading, open and closed chord voicings, octave doublings, the use of non-essential notes, lead doublings, fourths, clusters and chord spreads.
Score writing practices will be studied in detail and applied to students’ own arrangements. Topics will include instrument ordering, scoring for transposing instruments, producing concert pitch and transposed scores, producing transposed instrumental parts to a professional standard, and instrument ranges and tessitura. Musical arrangements will be created for a variety of instrument combinations; however, the focus will be on arranging for horn sections and rhythm sections in a popular music and jazz context. Students will present their arrangements 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 arranging, students will acquire a strong foundation in the elements of music that have shaped jazz and popular music. Students will learn to interpret and utilise complex chord symbols and understand the function of chords in jazz and popular music 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.
MUS205
History And Analysis 3: Roots Of Jazz And Popular Music
3 pts
History and Analysis 3 is the third 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 Jazz and popular music of the first part of the 20th century, and analyse selected composers’ works in depth. In the tutorial, students will apply their knowledge in practice through completion of aural analysis tasks designed to help students internalise musical elements comprising those musical styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmonic practice, and acquire more comprehensive vocabulary for use in musical analysis.
Through the lectures, students will acquire knowledge and appreciation of Jazz and popular music of the first part of the 20th century. Particular attention will be paid to outlining the connections between the development of music and other arts as wells as socio-economic, cultural and technological changes happening in contemporary society. Students will analyse musical works of prominent composers from the artistic, cultural and technical perspectives. The connections between previously learned 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 further advance the ability to research and analyse music, 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 performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students’ confidence and independence in transcribing and performing melodies, rhythms and chord progressions specifically derived from Jazz and popular music repertoire. Various group and individual in-class activities and out-of-class exercises using aural training software will develop the skills required for students to complete full transcriptions of musical works.
MUS206
History And Analysis 4: Recent Jazz And Popular Music
3 pts
History and Analysis 4 is the fourth 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 recent Jazz and popular music styles, and analyse selected composers’ works in depth. In the tutorial, students will apply their knowledge in practice through completion of aural analysis tasks designed to help students internalise musical elements comprising those musical styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmonic practice, and acquire more comprehensive vocabulary for use in musical analysis.
Through the lectures, students will acquire knowledge and appreciation of Jazz and popular music of the second part of the 20th century. Particular attention will be paid to outlining the connections between the development of music and other arts as wells as socio-economic, cultural and technological changes happening in the contemporary society. Students will analyse musical works of prominent composers from artistic, cultural and technical perspectives. Connections between previously learned 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 further advance their ability to research and analyse music, 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 performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students’ confidence and independence in transcribing and performing melodies, rhythms and chord progressions specifically derived from recent Jazz and popular music repertoire. Various group and individual in-class activities and out-of-class exercises using aural training software will develop the skills required for students to complete full transcriptions of musical works.
MUS211
Performance A3: Music In Society
6 pts
Performance A3: Music In Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the third of six subjects designed to equip students with the comprehensive competencies required to perform and improvise in contemporary and commercial styles such as afro-cuban, jazz, rock, funk, jazz-rock and pop. Across the six subjects, students will consolidate and expand their knowledge and solo/group performance skills as they continue to acquire a more extensive repertoire that reflects diverse traditions and imperatives of our multicultural society.
Repertoire class 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 a 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’ solo and ensemble performance skills and appreciation of the diversity of world music styles.
Second Study Instrument class (selected from voice, guitar, bass, drums or keyboard) broadens students’ general musical knowledge through playing and arranging for other instrumental groups. Students will attend weekly group lessons with a specialist teacher and learn to take care of the instrument, tune it and perform technical work and repertoire on the instrument. Students will have opportunities to perform short solos and simple ensemble parts during this class. Students studying guitar must borrow or hire guitars, and students studying drums must purchase drum sticks and a practise pad.
Improvisation class encourages students to explore conventional forms of improvisation in the jazz context. This class will foster students’ confidence in negotiating slow-moving, traditional and diatonic chord progressions in 4/4 metre. Students will create improvisations on a simple 12-bar blues progression in major (Improvisation 1) and progression from a given song (Improvisation 2) for assessment.
MUS212
Performance A4: Music In Society
6 pts
Performance A4: Music In Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the fourth of six subjects designed to equip students with the comprehensive competencies required to perform and improvise in contemporary and commercial styles such as Brazilian, jazz, rock, funk, jazz-rock and pop. Across the six subjects students will master an extensive repertoire that reflects diverse traditions and imperatives of our multicultural society.
Repertoire class 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 a 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’ solo and ensemble performance skills and appreciation of the diversity of the world music styles.
In the Second Study Instrument class (selected from voice, guitar, bass, drums or keyboard) students will further pursue performance on the instrument that they selected in the first semester. In the second semester, students will advance their general musical knowledge through playing and arranging for other instrumental groups. Students will attend weekly group lessons with a specialist teacher and improve their performance skills through learning more advanced repertoire and technical work. Students will have opportunities to perform more complex solos and ensemble parts during this class. Students studying guitar must borrow or hire guitars, and students studying drums must purchase drum sticks and a practise pad.
Improvisation class will develop students’ improvisation skills in the jazz context. This class fosters confidence in negotiating diatonic and chromatic chord progressions in a variety of meters and tempos. Students will create improvisations on various chord progressions using more complex rhythmic patterns and modes.
MUS213
Performance B3: Principal Study
3 pts
Performance B3: Principal Study comprises two components: Technical Work and Performance Repertoire. Students will consolidate and extend concepts, knowledge and skills in performance, developing advanced skills in both technique and repertoire on a principal study instrument. Students will continue to develop presentation and concert planning skills. At the end of this subject students will be able to assimilate a wide range of interpretive and technical approaches and apply these to the creative process of acquiring performance acumen. Students must successfully pass the Recital assessment in order to pass this subject.
In Performance Repertoire class students will receive individual instruction on the principal instrument from music industry experts. Repertoire selections will vary depending on students’ individual performance abilities and needs, and will continue to develop students’ tone production, articulation technique, rhythmic skills and stylistic interpretation to the advanced level. Students will begin to develop unique artistic voice and their own interpretations of musical works. At the end of the semester students will be required to perform a 20-minute recital comprising at least three works selected from three different repertoire lists, supplied by the teacher. The recital program must be approved by the teacher in advance of the recital date, and must show skill improvement compared to the previous semester.
In Technical Work class students will receive group instruction. This class will be tailored to continue developing participants’ individual and group performance skills with consideration for Occupational Health and Safety principles for musicians. Students will perform a wide variety of progressively more complex technical exercises on the principal instrument and engage in ongoing problem-solving exercises requiring them to evaluate own and each other’s performance and suggest methods and techniques for improvement. Students will have a variety of opportunities to perform in front of an audience, and will be required to attend a minimum of three performance seminars per semester.
MUS214
Performance B4: Principal Study
3 pts
Performance B4: Principal Study comprises two components: Technical Work and Repertoire. Students will consolidate and extend concepts, knowledge and skills in performance, developing advanced skills in both technique and repertoire on a principal study instrument, and continue to develop presentation and concert planning skills. At the end of this subject, students will be able to assimilate a wide range of interpretive and technical approaches and apply these to the creative process of acquiring performance acumen. A pass grade in the final performance recital is required to achieve an overall pass grade in this subject.
In Performance Repertoire class students will receive individual instruction on the principal instrument from music industry experts. Repertoire selections will vary depending on students’ individual performance abilities and needs, and will continue to develop students’ tone production, articulation technique, rhythmic skills and stylistic interpretation to the advanced level. Students will begin to develop unique artistic voice and their own interpretations of musical works. At the end of the semester students will be required to perform a 20-minute recital comprising at least three works selected from three different repertoire lists, supplied by the teacher. The recital program must be approved by the teacher in advance of the recital date, and must show skill improvement compared to the previous semester.
In Technical Work class students will receive group instruction. This class will be tailored to continue developing participants’ individual and group performance skills with consideration for Occupational Health and Safety principles for musicians. Students will perform a wide variety of progressively more complex technical exercises on the principal instrument and engage in ongoing problem-solving exercises requiring them to evaluate own and each other’s performance and suggest methods and techniques for improvement. Students will have a variety of opportunities to perform in front of an audience, and will be required to attend a minimum of three performance seminars per semester.
Year 3 Core
MUS280
Composition Studies 2
3 pts
MUS301
Music Industry 5 - Business Applications
6 pts
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.
MUS302
Music Industry 6 - Business Applications
6 pts
Music Industry 6: Business Applications comprises two components: Business (2 hour lecture), and Aesthetics and Research Seminar (2 hours). This subject continues to develop students’ knowledge and skills addressed in Music Industry 5. The aim of this course is to further prepare students for independent careers as performers, composers or music producers through participation in specially designed projects emulating work practices in the music industry. Students will continue to develop musical expertise, knowledge and skills in the areas of project management, collaboration and music marketing. The plans for specific projects developed in Music Industry 5 will be implemented.
The Business component of the subject 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. Emphasis will be placed on implementing and marketing ideas developed in the Music Industry 5. Students will gain practical experience in the music industry in a variety of situations through the delivery of a specific project working as team members.
Aesthetics and Research Seminar will challenge students to evaluate the place and function of music and arts in Australian society. Various philosophies of aestheticism and a variety of advanced music research methodologies will be explored. The influence of culture, particularly the Australian culture on the perception and interpretation of music, and the role of musical structure on aesthetics will be investigated. 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 will be further explored, building on the knowledge gained in Music Industry 5. The differences and applications of quantitative and qualitative research will be utilised and various modes for interpreting and presenting research data will be investigated. Students will further develop their collaborative and individual investigative skills culminating in the preparation of a major individual research project.
MUS303
Theory 5: Chromaticism
3 pts
This is the fifth 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 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 encourage 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 explored in lectures and tutorials.
MUS304
Theory 6: Beyond Tonality
3 pts
This is the last 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 post-tonal harmony, voice leading and musical form. This subject focuses on seminal post-tonal theories, the associated repertoire, and the aesthetic principles underlying musical trends in the art music genres of the twentieth and twenty-first centuries. This subject draws on knowledge and skills acquired through the previous five theory subjects. The notions of consonance and dissonance will be shown to be relative concepts. Non-tonal scales, and non-tertian harmonic practices and associated repertoire will be explored. Topics will include whole tone scales; non-tonal modes; harmonic ambiguity; secundal, quartal and quintal harmony; modes of limited transposition; and harmonic and melodic centrality and symmetry. Methods of pitch organisation in the twentieth and twenty-first centuries, such as serialism and musical set theory, will be examined. Sound mass techniques, instrument exploration, graphic and proportional notation, indeterminacy, ultra determinacy, minimalism, complexity and other trends will be examined to reveal the plethora of musical techniques and musical styles that inform contemporary art music composition today. Rhythmic practices of the twentieth and twenty-first centuries will also be explored. Students will acquire an understanding and will develop skills in composing, arranging and performing music that employs irregular rhythms, irrational metres, frequent metre changes, shifting accents, polyrhythms, multi-metres, ametrical rhythms and tempo modulations. Whilst these techniques are not overtly utilised in mainstream popular music, they have been utilised by experimental jazz artists and creators of music that exists at the fringes of popular culture. The evolution and influence of non-tonal practices and experimental music of the twentieth and twenty-first centuries on the development of recent music will be explicitly described in lectures and tutorials.
MUS305
History And Analysis 5: Romanticism And Impressionism
3 pts
History and Analysis 5 is the fifth 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 Romanticism and Impressionism in music and analyse selected composers’ works in depth. In the tutorial, students will apply their knowledge through completion of aural analysis tasks designed to help students internalise musical elements comprising those musical styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmony, and acquire more comprehensive vocabulary for use in musical analysis.
Through the lectures, students will acquire knowledge and appreciation of Romanticism and Impressionism in music. Particular attention will be paid to outlining the connections between the development of music and other arts as wells as socio-economic, cultural and technological changes in contemporary society. Students will analyse musical works of prominent composers from artistic, cultural and technical perspectives. Connections between previously learned 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 further advance their ability to research and analyse music, 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 performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students’ confidence and independence in transcribing and performing melodies, rhythms and chord progressions specifically derived from the Romantic and Impressionistic music repertoire. Students will further explore diatonic and non-diatonic melodies, complex rhythms in compound and odd meters, chromaticism and non-triadic chord structures. Various group and individual in-class activities and out-of-class exercises using aural training software will develop the skills required for students to complete full transcriptions of musical works.
MUS306
History And Analysis 6: World Music And Current Trends
3 pts
History and Analysis 6 is the last 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 the World Music and current trends in music around the globe, and analyse selected practitioners’ works in depth. Various musical traditions and their influence on contemporary music will be studied. In the tutorial, students will apply their knowledge through completion of aural analysis tasks designed to help students internalise musical elements comprising those musical styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmony, and acquire more comprehensive vocabulary for use in musical analysis.
Through the lectures, students will acquire knowledge and appreciation of World Music and current trends in music around the globe. Particular attention will be paid to outlining the connections between the development of music styles, genres, instruments and the cultural aspects of given societies. Students will acquire aural and theoretical skills that extend beyond the conventions and imperatives of diatonic music of previous centuries to embrace non-Western and post-tonal music, the use of modes and polytonality, contemporary harmonic devices, and the use of polyrhythm and mixed metre. Through the study of World Music and recent trends, students will expand their appreciation of the diversity of aesthetic expression. The connections between previously learned 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 further advance the ability to research and analyse music, review and critically evaluate musicological and ethno-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 performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students’ confidence and independence in transcribing and performing melodies, rhythms and chord progressions. Students will further explore complex rhythms in compound and odd meters.
MUS311
Performance A5: Music In Society
6 pts
Performance A5: Music in Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the fifth of six subjects designed to equip students with the comprehensive competencies required to perform and improvise in contemporary and commercial styles such as reggae, Caribbean, jazz, rock, funk, jazz-rock and pop. Across the six subjects students will consolidate and expand their knowledge and solo/group performance skills as they continue to acquire a more extensive repertoire that reflects diverse traditions and imperatives of our multicultural society.
Repertoire class 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 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’ solo and ensemble performance skills and appreciation of the diversity of the world music styles.
Ensemble class will offer ongoing performance opportunities that allow students to develop and refine their group/solo performance skills relevant to the live music industry. Students will further improve their performance, teamwork, leadership and communication skills through the study of the theoretical, practical and psychological aspects of performance presentation. Students will actively participate in class as performers and audience members, supporting each other and providing feedback.
Improvisation class will continue to build on the knowledge and skills acquired in previous semesters. Students will broaden their knowledge through listening to, and analysing professional jazz performances and discussing in class particular strategies and techniques employed by exemplar performers. This class will continue to advance students’ ability to improvise over diatonic and chromatic chord progressions in a variety of meters and tempos, paying special attention to developing innovative melodic lines. Students will create improvisations on various chord progressions using more complex rhythmic patterns and modes and perform them in class, evaluating their own and each other’s work.
MUS312
Performance A6: Music In Society
6 pts
Performance A6: Music in Society comprises three components: Repertoire, Practical Hour 1 and Practical Hour 2. This is the last of six subjects designed to equip students with the comprehensive competencies required to perform and improvise in contemporary and commercial styles such as gypsy, European folk, jazz, fusion and experimental. Across the six subjects students will consolidate and expand their knowledge and solo/group performance skills as they continue to acquire a more extensive repertoire that reflects diverse traditions and imperatives of our multicultural society.
Repertoire class comprises a lecture and a tutorial. In the lecture, students will examine the historical and social roots of Gypsy and European 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 a conceptual understanding of Gypsy and European folk music, conduct research and complete a written assignment on a given topic related to Gypsy and European folk music. Through solo and group practice, students will learn selected pieces and perform them in class. Overall, this class will further advance students’ solo and ensemble performance skills and their appreciation of the diversity of the world music styles.
Ensemble class offers ongoing performance opportunities that allow students to further develop and refine their performance skills relevant to the live music industry. Students will build upon the skills and knowledge acquired in the first semester, continuing to improve their performance, teamwork, and communication abilities through the study of the theoretical, practical and psychological aspects of performance presentation. Students will participate in class as performers and audience members, analysing and evaluating performances, identifying mistakes and weaknesses and developing practice strategies for improving the performance. This class will offer students opportunities to perform advanced repertoire, further developing students’ abilities to perform multi-part arrangements with complex melodic and rhythmic lines in various styles.
Improvisation class continues to build on the knowledge and skills acquired in previous semesters. Students will broaden their knowledge of jazz, fusion and experimental music through listening to and analysing professional performances, discussing in class particular strategies and techniques employed by exemplar performers, and transcribing solos. This class will use jazz forms to allow students to create idiosyncratic phrasing, melodic lines, rhythm and structures in a spontaneous fashion. Students will create improvisations on various compositions (including studied time signatures and modes) that demonstrate their ability to employ motivic development, and perform their improvisations in class with ensembles. All students will participate in evaluating their own and each other’s work, and suggesting ways of improving improvisations.
MUS313
Performance B5: Principal Study
3 pts
Performance B5: Principal Study comprises two components: Principal Study and Performance Seminar. A pass grade in the final performance recital is required to achieve an overall pass grade in this subject. Students will consolidate and extend concepts, knowledge and skills in performance, developing advanced skills in both technique and repertoire on a principal study instrument. Students will continue to develop presentation and concert planning skills. In this subject, students will develop professional performance demeanour and stage etiquette and learn to use performance focusing techniques and motivational attitudes that promote confidence and individuality. Students will consolidate their musical interpretation skills through a large number of performances.
In the Principal Study class, students will receive individual lessons from music industry experts. Instrumental music lessons will be tailored by the teacher to meet students’ specific educational requirements. All students will give a formal balanced 30-minute recital in the exam week at the end of the semester. The final recital will include at least three works selected from three different repertoire lists supplied by the teacher. The recital program will be approved by the teacher in advance of the recital date.
Performance Seminar is designed a forum for discussion and examination of issues and trends that face performing musicians. Students will be required to actively participate in discussions. Special guest lecturers will offer further insight into the multiple roles and career paths that a musician may follow, and will further illuminate the challenges and opportunities of the industry.
MUS314
Performance B6: Principal Study
3 pts
Performance B6: Principal Study comprises two components: Principal Study and Performance Seminar. A pass grade in the final performance recital is required to achieve an overall pass grade in this subject. Students will consolidate and extend concepts, knowledge and skills in performance, developing advanced skills in both technique and repertoire on a principal study instrument. Students will continue to develop presentation and concert planning skills. In this subject, students will develop professional performance demeanour and stage etiquette and learn to use performance focusing techniques and motivational attitudes that promote confidence and individuality. Students will consolidate their musical interpretation skills through a large number of performances.
In the Principal Study class, students will receive individual lessons from music industry experts. Instrumental music lessons will be tailored by the teacher to meet students’ specific educational requirements. All students will give a formal balanced 30-minute recital in the exam week at the end of the semester. The final recital will include at least three works selected from three different repertoire lists supplied by the teacher. The recital program will be approved by the teacher in advance of the recital date, and must showcase students’ advanced musical and presentation skills.
Performance Seminar is designed a forum for discussion and examination of issues and trends that face performing musicians. Students will be required to actively participate in discussions. Special guest lecturers will offer further insight into the multiple roles and career paths that a musician may follow, and will further illuminate the challenges and opportunities of the industry.
Electives
MUS151
Instrumental Studies 1
3 pts
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.
- Rhythm Section Workshop (for non-performance majors)
- Rhythm Section Workshop (for performance majors – by audition only)
- Guitar Workshop (for non-performance majors)
- Guitar Workshop (for performance majors – by audition only)
- Choir
- Vocal Workshop (for performance majors – by audition only)
- Band Workshop (for brass or woodwind players only)
- Technique Class (by audition only)
NOTE: The following classes must be taken for two consecutive semesters but cannot be repeated for more than one year.
- Industry Styles Band Repertoire classes (by audition only)
- Instrument Study selected from
- Woodwind (flute, clarinet, saxophone, oboe, bassoon)
- Guitar
- Percussion
- Brass (trumpet, trombone, tuba, euphonium)
- Voice
- Strings (violin, viola, cello, double bass)
MUS152
Instrumental Studies 2
3 pts
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.
- Rhythm Section Workshop (for non-performance majors)
- Rhythm Section Workshop (for performance majors – by audition only)
- Guitar Workshop (for non-performance majors)
- Guitar Workshop (for performance majors – by audition only)
- Choir
- Vocal Workshop (for performance majors – by audition only)
- Band Workshop (for brass or woodwind players only)
- Technique Class (by audition only)
NOTE: The following classes must be taken for two consecutive semesters but cannot be repeated for more than one year.
- Industry Styles Band Repertoire classes (by audition only)
- Instrument Study selected from:
- Woodwind (flute, clarinet, saxophone, oboe, bassoon)
- Guitar
- Percussion
- Brass (trumpet, trombone, tuba, euphonium)
- Voice
- Strings (violin, viola, cello, double bass)
MUS155
Film Scoring 1
3 pts
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.
MUS156
Film Scoring 2
3 pts
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.
MUS157
Song Writing 1
3 pts
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.
MUS158
Song Writing 2
3 pts
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.
MUS159
Electronic Music History 1
3 pts
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, 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.
MUS160
Electronic Music History 2
3 pts
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.
MUS161
Production Principles 1
3 pts
Elective: Production Principles 1 is the first in the sequence of four subjects. 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. This subject will equip students with fundamental skills and understanding of basic audio signal flow and gain structure, as applicable to analogue recording mediums. Basic recording projects will be undertaken to introduce students to the industry standard audio recording equipment.
MUS162
Production Principles 2
3 pts
Elective: Production Principles 2 is the second in the sequence of four subjects. 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. Students will develop skills in the digital Pro Tools recording environment and develop the ability to plan and manage studio recordings with live musicians.
MUS169
Acting 1
3 pts
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.
MUS170
Acting 2
3 pts
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.
MUS171
Dance 1
3 pts
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
MUS172
Dance 2
3 pts
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
MUS177
Musicianship Studies 1
3 pts
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.
MUS178
Musicianship Studies 2
3 pts
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.
MUS255
Film Scoring 3
3 pts
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.
MUS256
Film Scoring 4
3 pts
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.
MUS257
Song Writing 3
3 pts
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.
MUS258
Song Writing 4
3 pts
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.
MUS259
Electronic Sound Creation 1
3 pts
Electronic Sound Creation 1 introduces students to the fundamentals of sound. Students will be introduced to the basic principles of the physics of sound, and basic 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.
MUS260
Electronic Sound Creation 2
3 pts
Electronic Sound Creation 2 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.
MUS261
Production Principles 3
3 pts
Elective: Production Principles 3 is the third in a sequence of four subjects. Production Principles 3 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.
MUS262
Production Principles 4
3 pts
Elective: Production Principles 4 is the last in a sequence of four subjects. This subject 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.
MUS279
Composition Studies 1
3 pts
MUS375
Creative Technologies 1
3 pts
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.
MUS376
Creative Technologies 2
3 pts
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.
MUS381
Studio Teaching 1
3 pts
MUS382
Studio Teaching 2
9 pts