Course Code: 735
Course Duration: 3 years
Course Coordinator: Alex Pertout
Applications Close: 30/10/2009

Contents

Overview

The Bachelor of Music Performance is a three-year, full-time degree course which provides specialist training for students who wish to prepare for careers as professional musicians. This course may be followed by a full-time fourth year for selected students to complete an Honours degree. PLEASE NOTE THAT THERE IS NO INTAKE FOR THE REPERTOIRE OR COMPOSITION STREAM IN 2010.

Objectives

The objectives of this course are:

  • to encourage the development of creative, vital musicians, sufficiently flexible to contribute to the changing needs of the artistic community;
  • to develop practical music skills to the highest possible level, combined with a comprehension of music and the other arts in a variety of historical, social and cultural contexts;
  • to provide a comprehensive study of current musical practices within a fundamentally aural approach to learning;
  • to develop a realistic awareness of the demands of the music profession; and,
  • to encourage interaction with the wider educational and artistic community.
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Generic Skills

At the completion of the Bachelor of Music Performance students should be able to:

  • exhibit extensive theoretical and practical knowledge of their discipline including relevant professional knowledge, skills, discipline and ethics as they relate to the practising musician;
  • demonstrate an open and independent attitude towards contemporary cultural developments;
  • demonstrate a flexible and innovative approach to the challenges for the professional musician in the 21st century;
  • critically and creatively engage with topics of cultural significance across the broader community;
  • work at various levels, both individually and as a team member, in a wide variety of musical environments;
  • understand and appreciate how the arts connect with the broader society and culture; and,
  • demonstrate the ability to lead and take initiative in the learning process.
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Student Commitment

Students are expected to commit to the following -

  • Year 1 - 12 hours per week in formal contact plus 25.5 hours per week of self directed student (a combination of on and off campus study);
  • Years 2 and 3 - 11.5 hours per week in formal contact plus 25.5 hours per week of self directed study (a combination of on and off campus study).
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Assessment

Assessment is based on the monitoring of a student’s progress through the course and ultimately determines whether a student has achieved the required level to earn a Bachelor of Music Performance degree. Students are assessed on their ability to learn, to a sufficiently high level, the necessary practical and professional skills to become positive contributors to the music profession. Assessment is also based on the ability to transform feedback into action, to apply skills acquired to appropriate and wide ranging repertoire and to work with others to achieve a high level of attainment.

Commitment, attendance and punctuality are fundamental requirements. The final outcome will reflect the extent to which a student can demonstrate an understanding of the performance skills required to achieve the degree.

Assessment in the Faculty is progressive and all work is taken into consideration at the end of each assessment period. As feedback in every subject is essential to the assessment process, students are expected to keep a journal of activities for all subjects. Students are expected to seek periodic and progressive feedback from relevant staff in order that the monitoring process between staff and students is ongoing.

In addition to the broad parameters of the assessment procedures and distribution of percentages (continuous and formal) in this handbook, refer to the subject outline for each subject.

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Course Progression Guidelines

The maximum time permitted for completion of the course is six years. The progress of a student will be deemed to be unsatisfactory if the student:

  • fails three or more subjects in a semester in Year One; or
  • fails two or more subjects in a semester in Years Two or Three; or
  • fails any subject twice; or
  • having failed in any Principal Study, is unlikely, in the opinion of the examiners, to reach the level of proficiency required for that subject.
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Qualification for Award

The award of Bachelor of Music Performance requires the successful completion of the prescribed subjects and achieving a total score of 300 points.

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Subjects by Year

Year 1

Year 2

Year 3

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Subjects

Year 1

754-101
THE ARTIST IN THE WORLD - PART 1
Credit Points: 6.25
Contact hours: 2 hours per week
Supervised Studio hours: 5 hours per week including class preparation
Semester: Semester 1

Subject description:

Subject Handout

Part 1: Ideas and Interpretations

This subject is to be taken in conjunction with 754-130—The Artist in the World (Part 2) in Semester 2.

The subject will introduce students to the key themes and ideas central to all performing and visual arts as interpreted by artists, philosophers and theorists.

This subject is offered as a weekly lecture and tutorial program.

We will proceed by looking at how these various themes inform processes and practices within and across art forms. Starting with Ideas and Interpretations which form points of intersection between the visual and performing arts we will explore pedagogical practices currently employed at the Faculty, as well as analyse some of the technical, aesthetic and conceptual frameworks applied in the development of creative works. We will investigate the influences of various historical and contemporary contexts on the application and interpretation of these themes. In addition we will examine the possibilities for research in and through the arts leading to new modes of representation and the creation of new knowledge.

A range of international and local visual artists, musicians, writers, directors, designers, composers, choreographers, performers, and filmmakers will present lectures about their own work that may coincide with the week’s tutorial topic.

The weekly tutorial readings provide a theoretical context for analysing selected themes found in contemporary practice. During tutorial discussions, students will be encouraged to speculate and reflect upon the relationship between ideas encountered in the lectures, tutorials and readings, and their own studio practice.

Semester 1, 2009
Lecture program

Wednesdays, 9.30 -10.30 am Federation Hall

18 February Welcome and Introduction to the Artist in the World

25 February Rodney Hall (novelist and playwright)

4 March Kristy Edmunds (Head of the School of Performing Arts)

11 March Mike Daisy (collaborative commons and on-line networks)

18 March Master Liu ( martial arts, movement and meditation)

25 March Joanne and Stuart Favilla (musical instrument makers)

1 April Paul Cox (filmmaker)

8 April Daniel Cramer (Berlin based visual artist)

15 April Easter Break (no lecture)

22 April Leisa Shelton (performance and theatre making)

29 April Barbara Campbell (visual artist)

6 May Clem Martini (Head of Drama, Calgary University) tbc

13 May Film festival


Objectives:

On completion of the Artist in The World subject students should be able to:

  • identify key issues in contemporary cultural practice;
  • acquire a critical vocabulary and refine written and verbal communication skills;
  • develop an appreciation of the social and historical context of creative work;
  • develop the ability to critically analyse and evaluate discourses and performances in contemporary arts practice; and
  • develop a more reflective approach towards their practice and across disciplines.

Assessment:

Students must satisfactorily complete written work of 2,000 words or its equivalent and undertake active participation in tutorials to successfully complete the subject. Intellectual journal - 15 pages (45%); theoretical investigation - 800 words (30%); tutorial participation (25%). Hurdle requirement - 80% attendance.

Time Commitment:

5 hours per week including class preparation

Prescribed Texts:

Artist in the World Reader - Ideas and Interpretations (purchase from Student and Academic Services Unit)

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754-130
THE ARTIST IN THE WORLD - PART 2
Credit Points: 6.25
Mode of Delivery: weekly 1 hour lecture and weekly 1 hour tutorial
Contact hours: 2 hours per week
Supervised Studio hours: 5 hours per week incl preparation assessment tasks
Semester: Semester 2

Subject description:

The Artist in the World, part 2: Keywords in the Arts and Society, introduces students to a number of keywords which appear in contemporary debates on art and society. These debates make use of concepts drawn from within the arts but also from other disciplines including psychoanalysis, philosophy, anthropology, visual design, law, cultural theory and the sciences. Students are encouraged to gain awareness of the variety of ways in which words are used, and ideas and values constructed in these disciplines.

Lecture Program
Semester 2, 2009

July 15 – Martin Ng – Cardiologist, genetic researcher and turntable improviser

July 22 – Phillip Adams – Choreographer and director Ballet Lab

July 29 – Danius Kesminas – Visual artist and musician and all around crazed genius

August 5 – J.Hillis Miller – Theorist and critic

August 12 – Robin Fox – Electronic Musician and laser artist – Robin will perform a piece for computer and lasers

August 19 – Marco Fusinato – Visual artist and sound installation artist

August 26 – Maureen Gardner – Head of the School of Production at VCAM

September 2 – Kevin Murray – Curator and writer, ex director of Craft Victoria and current director of the South Project

September 9 – Deborah Cheetham – Indigenous opera singer, actor, author and program manger of the Willin Centre VCAM

Break: September 14

September 23 – Greg Burgess – Architect

September 30 – The Film Festival – curated by the CFI tutors

October 7 – Student presentations

 

 

 

Objectives:

On completion of the Artist in The World subject students should be able to:

  • identify key issues in contemporary cultural practice;
  • acquire a critical vocabulary and refine written and verbal communication skills;
  • develop an appreciation of the social and historical context of creative work;
  • develop the ability to critically analyse and evaluate discourses and performances in contemporary arts practice;and,
  • develop a more reflective approach towards their practice and across disciplines.

Assessment:

Students must satisfactorily complete assessment to pass part 2 of the subject. Students are required to complete written work of 2,000 words or its equivalent and undertake active participation in tutorials for each component to successfully complete the subject. Intellectual journal – 15 pages (45%); critical investigation - 800 words (30%); tutorial participation (25%). Hurdle requirement - 80% attendance.

Time Commitment:

5 hours per week incl preparation assessment tasks

Prescribed Texts:

Artist in the World Reader from the Student and Academic Service Unit
Also you can download the subject handout here

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758-120
PRINCIPAL STUDY 1.1
Credit Points: 12.5
Coordinator: Alex Pertout
Semester: Semester 1

Subject description:

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Continuous: Attendance and progress in individual lessons and Principal Study Forums measured by written Principal Study teacher reports (25%); Attendance at workshop classes (25%).

Formal: Two performances in workshop (20%); Individual technical examination (80%).

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758-121
PRINCIPAL STUDY 1.2
Credit Points: 25
Coordinator: Alex Pertout
Contact hours: 12 lessons & 24 workshop hours per semester
Semester: Semester 2

Subject description:

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lesson: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.


Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%)

Time Commitment:

Individual practice of 3 hours per day

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758-122
SPECIALIST RELATED STUDIES 1.1
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 24 hours per semester
Semester: Semester 1

Subject description:

This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

  • detailed exploration of artistic and instrumental technical development
  • development of an individual perspective in improvisation
  • practical techniques of composition
  • examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A

  • Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

  • Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
  • Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
  • Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Objectives:

On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-123
SPECIALIST RELATED STUDIES 1.2
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 24 hours per semester
Semester: Semester 2

Subject description:

This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

  • detailed exploration of artistic and instrumental technical development
  • development of an individual perspective in improvisation
  • practical techniques of composition
  • examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A

  • Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

  • Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
  • Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
  • Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Objectives:

On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-124
ENSEMBLE 1.1
Credit Points: 12.5
Contact hours: Small ensemble – 15 hours per semester, Large ensemble – 12 hours per semester
Semester: Semester 1

Subject description:

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.


In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study. Total 54 hours per semester, including 27 hours of self-directed study.

Objectives:

Upon completion of this subject students should be able to:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by craft and/or performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Time Commitment:

81 hours

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758-125
ENSEMBLE 1.2
Credit Points: 12.5
Coordinator: Alex Pertout
Contact hours: Small ensemble – 15 hours per semester, Large ensemble – 12 hours per semester
Semester: Semester 2

Subject description:

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.


In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Objectives:

Upon completion of this subject students should be able to:

  • develop the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • develop communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • develop an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • develop the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • develop an appreciation and understanding of the individualistic nature of performance;
  • engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by craft and/or performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Time Commitment:

81 hours

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758-126
AURAL STUDIES 1.1
Credit Points: 6.25
Contact hours: 18 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: J Tallon
Practical Composition Stream
Coordinators: J Tallon & G Hughes
Improvisation Stream
Coordinator: G Hughes

This subject develops aural comprehension in rhythm, melody, harmony and form, approached through exercises in listening and performing appropriate repertoire and technical exercises.

Estimated total time commitment
Students are expected to undertake self-directed study for a period of time (no less than 10 minutes) before every performance activity in the course.  This should take the form of mental preparation in terms of a concept of sound, intonation, rhythmic stability/flexibility and notions of the desired outcome in all performances.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

 

Formal: A short written test of approximately 15 minutes duration followed by a 15 minute viva voce test of material studied during the semester (50%)

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758-127
AURAL STUDIES 1.2
Credit Points: 6.25
Coordinator: Geoff Hughes
Contact hours: 18 hours per semester
Semester: Semester 2

Subject description:

This subject develops aural comprehension in rhythm, melody, harmony and form, approached through exercises in listening and performing appropriate repertoire and technical exercises.

Estimated total time commitment
Students are expected to undertake self-directed study for a period of time (no less than 10 minutes) before every performance activity in the course. This should take the form of mental preparation in terms of a concept of sound, intonation, rhythmic stability/flexibility and notions of the desired outcome in all performances.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: A short written test of approximately 15 minutes duration followed by a 15 minute viva voce test of material studied during the semester (50%).

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758-128
LANGUAGES OF MUSIC 1.1
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 18 hours of lectures and tutorials per semester
Semester: Semester 1

Objectives:

Upon completion of this subject students should be able to:

  • develop the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
  • be cognisant of and sympathetic to a broad range of musics and associated composition/performance skills;
  • develop communication skills in order to both understand all aspects of composition/performance practice, and develop an understanding of life experience as a musician in the 21st century;
  • develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
  • develop the necessary skills to combat performance anxiety and other elements which hinder the successful composition/performance of music;
  • develop an appreciation and understanding of the individualistic nature of composition/performance;
  • engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One written test of approximately 2 hours on subject matter presented in lectures and tutorials (50%).

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758-129
LANGUAGES OF MUSIC 1.2
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 18 hours of lectures and tutorials per semester
Semester: Semester 2

Subject description:

This subject is a study of harmonic, melodic, rhythmic and formal structures which form the fundamental basis of the western musical canon, embracing musical genres and styles directly relevant to current repertoire. It is seen as crucial to the active musician, in ensuring that the music played is understood from both a practical and intellectual perspective.

Estimated total time commitment
Students are expected to undertake self-directed study for a minimum equivalent time of 12 hours per semester, total 30 hours per semester.

Objectives:

Upon completion of this subject students should be able to:

  • develop the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
  • be cognisant of and sympathetic to a broad range of musics and associated composition/performance skills;
  • develop communication skills in order to both understand all aspects of composition/performance practice, and develop an understanding of life experience as a musician in the 21st century;
  • develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
  • develop the necessary skills to combat performance anxiety and other elements which hinder the successful composition/performance of music;
  • develop an appreciation and understanding of the individualistic nature of composition/performance;
  • engage in constructive critical debate.

Assessment:

Continuous: Preparation and commitment as demonstrated by tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One written test of approximately 2 hours on subject matter presented in lectures and tutorials (50%).

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Year 2

754-202 & 203
THE WORLD IN THE ARTIST 2A & 2B
Credit Points: 6.25
Prerequisites:

These seminars are offered at second year level. Second year students attend one x 2 hour seminar per week each semester from an available pool of approximately 12 seminar subjects. Seminars are held once a week and most seminars from semester one are repeated in second semester.
Mode of Delivery: weekly seminar
Contact hours: 2 hour seminar per week in each semester
Semester: Both Semesters

Subject description:

WORLD IN THE ARTIST 2B
SEMESTER TWO, 2009 

Please check your University email for information on how to enrol in one of the seminars listed below for semester two.

CLASSES BEGIN EITHER THURSDAY 16 JULY OR FRIDAY 17 JULY - PLEASE CHECK THE DAY AND TIME OF THE SEMINAR THAT YOU HAVE ENROLLED IN.

EAST/ WEST: PART 1
David Shea
Fridays: 2.00pm-4.00pm

Subject/Seminar Description:

This seminar is an in-depth look at the traditional divide between the cultures, philosophies, perceptions and approaches to the body in Eastern and Western models. Themes explored include scientific and spiritual cosmologies, eastern and western medicine, evolutionary ideas and creation stories, eastern and western architecture, rationality and meditation, martial arts and body enhancement, anatomical and holistic bodies, and mysticism.

There will be a strong concentration on current research in fields relating to the communication between traditional opposites such as quantum physics and its relation to spiritual views of time and space, art, music and literature, as well as medical research into meditation
and martial arts.

Assessment:

Contribution and participation in seminar discussion       25%
Total written work or equivalent project comprising 1500 words  75%
                        
Hurdle requirement: 80% attendance

SUBVERSIVE FILM IN ART
Oren Ambarchi
Thursdays 4pm-6pm

Subject/Seminar Description:

This seminar will introduce how aesthetic, sexual, and ideological subversives have used one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions.

This subversion of form is illuminated by a detailed examination of films from Oren's collection including many rarely seen, or never released works. Avant-garde, underground, independent and exceptional commercial films will be viewed in their entire duration on a weekly basis followed by a group discussion and analysis.

*Please not that it not necessary to have attended this subject in the first semester. Additionally, none of the films screened in the first will be repeated in 2nd semester.

Assignment/Assessment:
Students will be required to submit a 1500 word written research assignment investigating one of the films viewed in the course or a film of their choice that relates to the ideas and topics discussed in the seminar.

Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance


THE HIDDEN LINKS OF THE AVANT-GARDE & POPULAR CULTURE
Oren Ambarchi
Fridays 11am-1pm

Subject/Seminar Description:

Pop and the avant-garde represent the cultural contradiction of late capitalism, the contradiction that has no dialectic. Pop music for example, has a mass audience, but its domination by the commodity form usually fosters "stupidity in listening". The avant-garde has the imagination to challenge passivity and stupidity, but usually addresses itself only to the art world. Is it possible to overcome the contradiction between the mass-market pop world and the avant-garde?

This course endeavours to explore the parallel worlds of pop and the avant garde and reveal how these contradictory cultural worlds have borrowed from each other and transgressed the rigid boundaries separating "high" and "low" culture to form secret and friendly alliances.

Assignment/Assessment:
Students are required to do a project researching a historical work, artist or movement that has ties to both the avant-garde and pop culture. This project has 2 requirements:
1. Each student will give a presentation of their project to the class
2. Each student will submit a written assignment of 1500 words reflecting their investigation

Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance


BODIES OF WAR IN ART AND PERFORMANCE
Adam Broinowski
Fridays 11am-1pm
 
Subject/Seminar Description:
 
This seminar provides views from the body in war through key samples of 20th century political performance and art. Artists have long recorded, reflected and reacted to the terror, cruelty, and pathos of war. But since the First World War, shocked out of their preconception that civilization had advanced beyond barbarity, influential artists opposed war by rupturing the way it was represented.
 
In providing a surface to touch to become critically aware of the burning lava of fear, joy and pride in war, artists over this century (Dix/Grosz/Hoch/Heartfield, Artaud/Brecht, Lanzmann/Ibuse, Hijikata/ Schneeman/The Living Theatre/Oshima, La Fura dels Baus/Dead Kennedys/Godard, Morris/Fairey/Banksy to name a few!) have often been uncomfortably out of place, exiles in their own societies while addressing the theme of war. What does the study of this violence and conflict through philosophy, art, performance and war documentary reveal? Is war ‘natural’?
 
Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

DIALOGUE WRITING
Raimondo Cortese
Fridays 2pm-4pm
Subject/Seminar Description:

The seminar focuses on writing dialogue and scenes for theatre, film or TV. The work involves a direct and intensive exploration of the written material. The focus is on action, on what words do (to the performer speaking and being spoken to).
Dramatic dialogue is dynamic – it inspires change. Students are encouraged to treat their dialogues as verbal creations, to be spoken out then written, without censoring or judging what happens. A series of simple exercises are used to allow the students to focus on action.

The aim is to not ‘interpret’ or ‘shut down’ the dialogue, but to instead focus on the complex reality of what is actually happening between people rather than what is literally happening. From there we discover where rewriting is required. We will also be exploring dialogues from theatre and film classics.

Assignment/Assessment:
By the end of the seminar participants will be required to hand in their written material. This can be a short play, film or TV script or a series of dialogues that defy strict categorisation.

Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

PROTEST AND SURVIVE: OR DO PROTEST SONGS DREAM OF iTUNE SALES?
Elliot Howard
Fridays 2pm - 4pm

Subject/Seminar Description:

In this seminar we will investigate both historical and contemporary forms of protest and pose the question – what place does protesting have in contemporary artistic and political practices?  We will explore a range of material and disciplines including current Melbourne based protest movements and actions, popular music, film, art, current affairs, economics, climate change and theoretical perspectives. 

We will look at recent G8, Mayday and anti war protests, the films of Jean-Luc Godard, the Situationist movement, the events of May 68, the Hornsey School of Art and Byam Shaw School of Art sit-ins (1968 and 2009), the Baader-Meinhoff group, the Gorilla Girls and graffiti on Melbourne’s streets and laneways. We will place protest in the context of Generation Y’s first recession, the Global Financial Crisis and impending climate catastrophe.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance


MASHIT: SOUND AND VIDEO ART
Bruce Mowson
Fridays 11am-1pm

Noise, mash-ups, soundscapes, video art, music-videos, electronic music, minimalisms, sound art: these and many more are sub-genre’s that can be produced using analogue and digital sound and video. In this seminar, we will be working in the computer lab to create any and or all of the above. In class, a range of topics and techniques will be introduced, including audio-visual theory, soundtrack creation, video installation, collage and appropriation, critical listening and looking.

Ultimately, we will be working toward a screening, performance or presentation at the end of the semester. Submission requirements will include a short written assignment and sound and/or video works.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

SENSORAMA: MULTI-DISCIPLINARY INSTALLATION AND PERFORMANCE
Bruce Mowson
Fridays 2pm-4pm

Subject/Seminar Description:

In the first semester, we explored the way we use our senses in our art, and thought about distinctions between perception, thought and memory. In this semester we extend these explorations, and look at new material from Film, psychoanalysis, Media art, Installation Art and Happenings. We will continue exploring the senses through exercises such as the blind walk, and will actively explore possibilities for cross-disciplinary collaboration.

We will be working toward an installation/performance event and catalogue, coordinated by students, at the end of semester. Submission requirements will include a short written assignment and an artwork.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

ZEN PAINTING AND POETRY
Professor Richard Perry
Fridays 11am-1pm
Subject/Seminar Description:

This course will introduce students to major painters and poets within the Chinese and Japanese traditions of Zen Buddhist art. Topics to be discussed include Buddhism vs. Zen Buddhism, form and emptiness, spontaneity and control, tradition and iconoclasm, heroes and swagmen, silence and sound, the brush as sword, and Zen in modern art.

The influence of Zen Buddhist aesthetics on ceramics and garden design will also be discussed. Students will be expected to participate freely in seminar discussions, and assessed assignments will include one haiku poem, one brief essay, and one short quiz.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

‘DO IT’
Elizabeth Presa
Fridays 2pm-4pm

Subject/Seminar Description:

‘Do it’ famously began as a discussion between artists Christian Boltanski and Bertrand Lavier, and writer and curator Hans Ulrich Obrist, in 1993 at the Café
Select in Paris.  Their discussion focused on the use of written instructions to make works of art in an effort to observe the effects of translation.  They were interested in how written instructions from artists could function like musical scores, which go though countless variations and interpretations each time they are performed.  ‘Do it’ has been staged in over 45 museums around the world.

The Centre for Ideas ‘do it’ project is presented in collaboration with Hans Ulrich Obrist. This year ‘do it’ focuses on art and philosophy. Eminent philosophers have been invited to write ‘do it’ instructions.  Participating philosophers include Jean-Luc Nancy, Julia Kristeva, Alexander Garcia Duttmann, Daniel Birnbaum
(Director of the 2009 Venice Biennale), Andrew Benjamin, Peter Singer as well as Beijing based philosophers.  Students from the Central Academy of Fine Art Beijing (CAFA), China’s leading art college, will participate in the exhibition.
 
The outcomes of your ‘translations’ will form the 2009 ‘do it’ exhibition at the George Paton Gallery 5 – 16 October

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

EAST/WEST: Part 2
David Shea
Thursday 4pm-6pm

Subject/Seminar Description:

This seminar is an in-depth look at the traditional divide between the
cultures, philosophies, perceptions and approaches to the arts in
Eastern and Western models. Themes explored include scientific and
spiritual cosmologies, eastern and western medicine, evolutionary ideas
and creation stories, eastern and western architecture, rationality and
meditation, martial arts and body enhancement, anatomical and holistic
bodies, and mysticism.

In this second semester we will explore, in depth, aspects of subjects we covered in the first semester. We will also investigate many new areas, with a shift in focus towards presentations, both by my self and the students. My presentations, which will be the first hour of every week, will concentrate on the arts and in particular the visual arts, performance and music in traditional cultures all round the world and the religious, scientific and mythological philosophies, which form the roots of these cultures. It is not necessary to have done the first semester of East West to be a part of this seminar as we will be covering almost all new ground and re-visiting some of the first semester concepts in new contexts.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

DIALOGUES WITHIN INVISIBLE CITIES
Leisa Shelton
Fridays 2pm-4pm

Subject/Seminar Description:

Investigations into the evolving cross fertilisations within and between the languages of architecture, theatre, philosophy, the culinary arts, science and curatorial practice – to name but a few!

If Gay Bilson, William Forsyth, John Zorn, Peter Greenaway, Sophie Calle, Helene Cixous and Gordon Matta-Clarke were guests at our dinner table, what kind of conversations might emerge? 

This series of seminars will introduce students to a variety of processes developed by leading practitioners, working beyond the parameters of their specific disciplines to redefine both their practice and the way we experience the world through the encounters with their work.

Assignment/Assessment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance


THE ART OF DESIRE: PSYCHOANALYTIC AESTHETICS
Dr Ashley Woodward
Fridays 11am-1pm
Subject/Seminar Description:
For roughly a century now, psychoanalysis has been a major force of influence in the arts, both in practice and criticism. This subject introduces and explores a variety of different psychoanalytic perspectives on art, as well as the relations between psychoanalysis, art, and politics. It will focus on the ideas of four major theorists: the psychoanalysts Sigmund Freud and Jacques Lacan, and the philosophers Jean-François Lyotard and Slavoj Zizek.

The seminar will also consider the ways psychoanalysis has been taken up by artists (for example, in surrealism), and how it has impacted on politics and culture. It will introduce key ideas in psychoanalytic theory, such as libido; the unconscious; phantasy; the uncanny; the symbolic, the imaginary, and the real; the figural; and so on.

It will also look at the application of psychoanalytic theory to a variety of art forms, including painting, cinema, and music, and consider the politics of public space in relation to how desire circulates through advertising, stencil art, and graffiti.

Assessment/Assignment:
Contribution and participation in seminar discussion               25%
Total written work or equivalent project comprising 1500 words 75%
Hurdle requirement: 80% attendance

 

Objectives:

On completion of World in the Artist seminar subjects students should be able to:

  • demonstrate and analyse the philosophical and methodological basis of creative research activity;
  • exhibit insight into the relationship between key theoretical concepts and original creative practice;
  • exercise knowledge of highly specialised disciplinary practice and methodology;
  • recognise the significance of research in creative work;
  • develop a framework for addressing future inter-disciplinary research projects;
  • demonstrate analytic skills and the ability to communicate complex concepts;
  • exhibit lucid verbal and written communication skills and fluency within the student’s own practice and across other disciplines;
  • develop a sense of individual perspective; and
  • demonstrate familiarity with recent cultural debates and new cultural practices.

Time Commitment:

6 hours per week

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758-220
PRINCIPAL STUDY 2.1
Credit Points: 12.5
Coordinator: Alex Pertout
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: E Mitchell

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual lessons will focus on the further development of skill, repertoire and current performance practices as they relate to the profession.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
In addition to the above, students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Practical Composition Stream
Coordinator: M Pollard
appropriate composition materials;
*
performances of compositions in Principal Study Workshop and College and Community Concerts;
*
further development of creative, notational, technical and orchestration skills;
*
a high level of self-evaluation in the craft of composition.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.

Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual composition practice of an average of 3 hours per day.

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.

Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

Repertoire Stream
Indivdual lessons will focus on the development of skill, repertoire and current performance practices as they relate to the profession.

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

*
the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
*
to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
*
communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
*
development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
*
development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
*
development of an appreciation and understanding of the individualistic nature of composition;
*
to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Repertoire Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Practical Composition Stream
Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Improvisation Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.



Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

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758-221
PRINCIPAL STUDY 2.2
Credit Points: 12.5
Coordinator: Alex Pertout
Contact hours: 12 lessons & 24 workshop hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: E Mitchell
A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Estimated total time commitment:
In addition to the above, students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Practical Composition Stream
Coordinator: M Pollard

*
appropriate composition materials;
*
performances of compositions in Principal Study Workshop and College and Community Concerts;
*
further development of creative, notational, technical and orchestration skills;
*
a high level of self-evaluation in the craft of composition.

Individual Lesson: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.

Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual composition practice of an average of 3 hours per day.

Improvisation Stream
Coordinator: Alex Pertout

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lesson: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.

Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

Repertoire Stream
Individual lessons will focus on the further development of skill, repertoire and current performance practices as they relate to the profession.

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

*
the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
*
to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
*
communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
*
development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
*
development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
*
development of an appreciation and understanding of the individualistic nature of composition;
*
to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Repertoire Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Practical Composition Stream
Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Improvisation Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.



Formal: Examination Recital (80%); performances/practical tasks in workshop (20%).

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758-222
SPECIALIST RELATED STUDIES 2.1
Credit Points: 6.25
Contact hours: 24 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: E Mitchell

This subject consists of two or more components arranged to suit the specific requirements of each department:
Brass, Strings & Woodwind: Orchestral Materials
Percussion: Notated Materials and Genres
Guitar: Development of Repertoire, Sight-reading
Keyboard: Accompaniment, Sight-reading, Improvisation skills
Voice: Languages, Vocal Materials

Brass, Strings & Woodwind

* practical survey of standard repertoire
* sectional rehearsal of standard repertoire
* analysis and discussion of repertoire appropriate to particular instrumental areas
* preparation for orchestral careers

Percussion

* practical survey of repertoire
* analysis and discussion of key repertoire (and composer as applicable)
* orchestra and other ensembles existing in the profession

Guitar

* development of repertoire
* individual and ensemble sight-reading

Keyboard

* sight-reading and keyboard skills
* accompanying skills

Voice

* Languages – Phonetics (Year 1 – Semester 1) Italian (Year 1 – Semester 2), German (Year 2) and French (Year 3)
Basic Language Studies: this subject will focus on learning the correct pronunciation of these languages as they relate to the standard vocal repertoire. It will provide students with an introduction to the topic as we move through all of the component sounds of the languages with special emphasis on those that are challenging to non-native speakers.
* Vocal Materials: The aim of this subject is to explore creative purpose, the physical and acoustic elements within the act of singing, and their application in the professional world. Topics to be covered include vocal health and related issues; the young vocal instrument; basic principles of anatomy and acoustics (and their practical applications); a survey of current pedagogical theories of vocal technique; vocal terminology.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Practical Composition Stream
Coordinator: M Pollard

* cross-media compositional materials
* orchestration/arranging
* exploration and analysis of the technical, creative and general musical factors which affect composing for a variety of media including film and television, theatre and dance.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Improvisation Stream
Coordinator: Alex Pertout

This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

  • detailed exploration of artistic and instrumental technical development
  • development of an individual perspective in improvisation
  • practical techniques of composition
  • examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A

  • Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

  • Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
  • Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
  • Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Objectives:

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

* the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
* to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
* communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
* development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
* development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
* development of an appreciation and understanding of the individualistic nature of composition;
* to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One notated materials examination of approx. 20 minutes duration (50%).

Brass, Strings & Woodwind
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One notated materials examination of approx. 20 minutes duration (50%).

Percussion
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One notated materials examination of approx. 20 minutes duration (50%).

Guitar
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 20 minutes duration (50%).

Keyboard
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 10 minutes duration (25%); One accompaniment test of approx. 15 minutes duration (25%)

Voice
Language Studies: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: A presentation of two texts specifically prepared and studied for this subject component in semester 1, and a presentation of two texts specifically prepared and studied for this subject component in semester 2 (50%).

Vocal Materials: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: Group presentation semester 1 (25%) Individual presentation semester 2 (25%).

Practical Composition Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance (50%).

Formal: Presentation of an original composition involving other media beyond music (25%); Presentation performed and/or recorded of an original orchestration or arrangement specifically written for this subject (25%).

Improvisation Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-223
SPECIALIST RELATED STUDIES 2.2
Credit Points: 6.25
Contact hours: 24 hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: E Mitchell

This subject consists of two or more components arranged to suit the specific requirements of each department:

Brass, Strings & Woodwind: Orchestral Materials
Percussion: Notated Materials and Genres
Guitar: Development of Repertoire, Sight-reading
Keyboard: Accompaniment, Sight-reading, Improvisation skills
Voice: Languages, Vocal Materials

Brass, Strings & Woodwind

* practical survey of standard repertoire
* sectional rehearsal of standard repertoire
* analysis and discussion of repertoire appropriate to particular instrumental areas
* preparation for orchestral careers

Percussion

* practical survey of repertoire
* analysis and discussion of key repertoire (and composer as applicable)
* orchestra and other ensembles existing in the profession

Guitar

* development of repertoire
* individual and ensemble sight-reading

Keyboard

* sight-reading and keyboard skills
* accompanying skills

Voice

* Languages – Phonetics (Year 1 – Semester 1) Italian (Year 1 – Semester 2), German (Year 2) and French (Year 3)
Basic Language Studies: this subject will focus on learning the correct pronunciation of these languages as they relate to the standard vocal repertoire. It will provide students with an introduction to the topic as we move through all of the component sounds of the languages with special emphasis on those that are challenging to non-native speakers.
* Vocal Materials: The aim of this subject is to explore creative purpose, the physical and acoustic elements within the act of singing, and their application in the professional world. Topics to be covered include vocal health and related issues; the young vocal instrument; basic principles of anatomy and acoustics (and their practical applications); a survey of current pedagogical theories of vocal technique; vocal terminology.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Practical Composition Stream
Coordinator: M Pollard

* cross-media compositional materials
* orchestration/arranging
* exploration and analysis of the technical, creative and general musical factors which affect composing for a variety of media including film and television, theatre and dance.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Improvisation Stream
This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

  • detailed exploration of artistic and instrumental technical development
  • development of an individual perspective in improvisation
  • practical techniques of composition
  • examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A

  • Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

  • Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
  • Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
  • Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Objectives:

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

    * the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
    * to be cognisant of and sympathetic to a broad range of musics and associated  composition skills;
    * communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician  in the 21st century;
    * development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
    * development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
    * development of an appreciation and understanding of the individualistic nature of composition;
    * to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One notated materials examination of approx. 20 minutes duration (50%).

Brass, Strings & Woodwind
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Percussion
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Guitar
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 20 minutes duration (50%).

Keyboard
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 10 minutes duration (25%); One accompaniment test of approx. 15 minutes duration (25%)

Voice
Language Studies: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: A presentation of two texts specifically prepared and studied for this subject component in semester 1, and a presentation of two texts specifically prepared and studied for this subject component in semester 2 (50%).

Vocal Materials: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: Group presentation semester 1 (25%) Individual presentation semester 2 (25%).

Practical Composition Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance (50%).

Formal: Presentation of an original composition involving other media beyond music (25%); Presentation performed and/or recorded of an original orchestration or arrangement specifically written for this subject (25%).

Improvisation Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-224
ENSEMBLE 2.1
Credit Points: 12.5
Contact hours: Small ensemble – 15 hours per semester, Large ensemble – 12 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: J Tallon

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study. Total 54 hours per semester, including 27 hours of self-directed study.

Practical Composition Stream
Coordinator: M Pollard

Composition students participate in directing/conducting and craft skill development in composition for Ensemble.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of conducting and music craft study.

Improvisation Stream
Coordinator: Alex Pertout

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.



In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Objectives:

Practical Composition Stream
Upon completion of this subject students should be able to:

* develop the ability to connect research into repertoire to actual composition and performance, and develop creative skills across a wide spectrum of music;
* be cognisant of and sympathetic to a broad range of musics and associated composition skills;
* develop communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
* develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
* develop the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
* development of an appreciation and understanding of the individualistic nature of composition;
* engage in constructive critical debate.

Improvisation Stream
Upon completion of this subject students should be able to:

  • develop the ability to connect research into repertoire to actual performance, and develop creative skills of interpretation across a wide spectrum of music;
  • be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • develop communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • develop an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • develop the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • develop an appreciation and understanding of the individualistic nature of performance;
  • engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (40%) – Hurdle requirement 80% attendance.

Formal: One small ensemble performance of approx. 20 minutes duration (60%). Hurdle requirement – participation in Large Ensemble.

Practical Composition & Improvisation Streams
Continuous: Preparation and commitment as demonstrated by craft and/or performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Time Commitment:

81 hours

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758-225
ENSEMBLE 2.2
Credit Points: 12.5
Contact hours: Small ensemble – 15 hours per semester, Large ensemble – 12 hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: J Tallon

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study. Total 54 hours per semester, including 27 hours of self-directed study.

Practical Composition Stream
Composition students participate in directing/conducting and craft skill development in composition for Ensemble.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of conducting and music craft study.

Improvisation Stream
Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Objectives:

Practical Composition Stream
Upon completion of this subject students should be able to:

    *
       develop the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
    *
      be cognisant of and sympathetic to a broad range of music and associated  composition skills;

      develop communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician  in the 21st century;
    *
      develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
    *
      develo the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
    *
      develop an appreciation and understanding of the individualistic nature of composition;
    *
      engage in constructive critical debate.

Improvisation Stream
Upon completion of this subject students should be able to:

    * develop the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
    * be cognisant of and sympathetic to a broad range of musics and associated performance skills;
    * develop communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
    * develop an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
    * develop the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
    * develop an appreciation and understanding of the individualistic nature of performance;
    * engage in constructive critical debate.

 

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (40%) – Hurdle requirement 80% attendance.

Formal: One small ensemble performance of approx. 20 minutes duration (60%). Hurdle requirement – participation in Large Ensemble.

Practical Composition & Improvisation Streams
Continuous: Preparation and commitment as demonstrated by craft and/or performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Time Commitment:
81 hours

Time Commitment:

81 hours

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758-256
AURAL STUDIES 2.1
Credit Points: 6.25
Prerequisites: Aural Studies 1.1 and 1.2
Contact hours: 18 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: J Pollock
Practical Composition Stream
Coordinators: J Pollock & G Hughes
Improvisation Stream
Coordinator: G Hughes

Aural perception of rhythm, melody, harmony and form approached through exercises in listening and performing as well as analysis of appropriate repertoire.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Written and/or practical examination(s) of 60-90 minutes on the material studied in this subject. (50%)


Time Commitment:

30 hours, including 12 hours self-directed study

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758-257
AURAL STUDIES 2.2
Credit Points: 6.25
Prerequisites: Aural Studies 1.1 and 1.2
Contact hours: 18 hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: J Pollock
Practical Composition Stream
Coordinators: J Pollock & G Hughes
Improvisation Stream
Coordinator: G Hughes

Aural perception of rhythm, melody, harmony and form approached through exercises in listening and performing as well as analysis of appropriate repertoire.

Assessment:

Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Written and/or practical examination(s) of 60-90 minutes on the material studied in this subject. (50%)

Time Commitment:

30 hours, including 12 hours self-directed study

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Year 3

754-301
COLLABORATIVE CONTRACT
Credit Points: 6.25
Mode of Delivery: weekly seminar/workshop
Contact hours: 2 hours per week
Supervised Studio hours: 6 hours per week including class preparation
Semester: Semester 1

Subject description:

Through the process of group building activities in tutorial settings, students will form collaborative groups and project ideas reflective of the diversity of disciplines. Additionally, throughout the course students will develop their project ideas through various forms of online collaboration including blogging, forum discussions, bulletin board postings as well as responding to collaborative work as it is developed and posted online.

Subject Coordinator - Alex Gibson

Seminar/ lecture Program

Friday 9.30-11.30am Art Auditorium

FEBRUARY 20, 27, MARCH 6, 13, 20, 27, APRIL 3, 24, MAY 1, 8.

Objectives:

On completion of the Collaborative Contract subject students should be able to:

  • demonstrate confidence in their ability to initiate cross-disciplinary collaborative practice;
  • develop cooperative approaches and exercise leadership skills;
  • display critical, reflective skills;
  • demonstrate the ability to work in an inclusive manner;
  • gain confidence that insight is found in the creative process;
  • recognise the cumulative and complex ways in which knowledge is formed;
  • develop strong documentary processes;
  • understand the role of accounting and project management; and,
  • be able to disseminate information and publicly promote their project.

Assessment:

The group project must be presented before the end of the semester, to be reviewed by two academic members of staff (100%). Hurdle requirement – 80% attendance. Groups will be issued with a group mark.

Time Commitment:

6 hours per week including class preparation

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754-302
PROFESSIONAL DEVELOPMENT
Credit Points: 6.25
Coordinator: Dr Elizabeth Presa
Prerequisites: World in the Artist 2nd year seminars
Contact hours: 2 hours per week
Supervised Studio hours: 6 hours per week
Semester: Semester 2

Subject description:

This subject will provide an integrated and generic introduction to the key issues and skills necessary to enhance a student’s artistic career. The aim is to develop a base upon which all students can build their own specialist skills. This subject will complement the existing specialist subjects on professional development on offer in each School. The presentation of the subject will be in the form of lectures by invited experts in the fields of intellectual property, copyright, ethics, small business development, financial management, taxation, marketing and publicity, and occupational health and safety. Extracurricular workshops will be offered in negotiation, time management, grant writing and presentation skills.

Seminar /Lecture Program
Fridays 9:30am – 11.30 am Federation Hall

Objectives:

On completion of the Professional Development subject students should be able to:

  • exhibit sophisticated professional communication skills;
  • undertake preparation of a curriculum vitae;
  • demonstrate an understanding of ethical issues;
  • identify career management strategies;
  • identify problem solving and conflict resolution skills;
  • exhibit experience of team processes; and,
  • demonstrate knowledge of issues relating to personal safety, teaching aids, access to information,and financial and legal advice.

Assessment:

Students select from a menu of discipline related written assessment projects (100%). Hurdle requirement – 80% attendance.

Time Commitment:

6 hours per week

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758-226
18TH/19TH CENTURY MUSIC
Credit Points: 6.25
Coordinator: Elizabeth Mitchell
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject examines the classical music of the 18th and 19th century with specific attention to placing the music in historical, social and cultural contexts. Selected works will be chosen in the examination of the materials and structures of music.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
A formal written examination of 1 hour duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-230
ALEXANDER TECHNIQUE
Credit Points: 6.25
Coordinator: Robert Schubert
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject deals specifically with techniques of a highly specialist nature. It requires both individual and small group attention, and attends to the particular characteristics of individuals in relation to such issues as posture and movement, which in turn may affect physical and mental health and stamina, and, more specific to music, the sound one makes.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (100%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-231
ORCHESTRATION
Credit Points: 6.25
Coordinator: Dr David Kram
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject studies arranging and orchestration through an examination of relevant scores and the writing of short original extracts. Students will be given specific models to begin with, followed by more experimental writing. Trial and error will be a fundamental component of this subject.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
A notated composition of approx. 10 minutes duration demonstrating the skills in arranging and orchestration with particular reference to instrumentation (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-239
COMPOSITION FOR FILM
Credit Points: 6.25
Coordinator: Mark Pollard
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Developmental Module.
Tutorial Based Module.
This subject focuses on a study of the musical product of this country, its musical languages, identity, influences and composers with particular attention to the special requirements for the medium of film and television. The subject requires collaborations with students/professionals in film and television and the necessity to understand the ‘politics’ of the hierarchy across the various artistic components.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%).

Formal:
A notated composition of approx. 10 minutes duration relevant to film and/or theatre (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-240
CONDUCTING
Credit Points: 6.25
Coordinator: Dr David Kram
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject introduces basic conducting skills including baton technique, rehearsal methods, score reading (all clefs) and preparation, basic instrumental and vocal ensemble problems. On completion of this subject students should be able to rehearse and conduct an instrumental ensemble with confidence and conviction, understand the requirements for further development as a conductor, understand the principles to be followed in solving complex conducting challenges, and understand and appreciate the leadership skills needed by a conductor.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:

  • one practical conducting assignment of a work (or excerpt of a work) studied during the semester of approx. 10 minutes duration (25%), and
  • one viva voce test of approx. 15 minutes duration on questions of instrumentation, the pitch range of instruments and instrumental combinations studied during the semester (25%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-243
FRENCH FOR MUSICIANS
Credit Points: 6.25
Coordinator: Dr David Kram
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject is designed to help students further prepare for possible study abroad and will include two basic areas of study. The first will deal with the language as it relates directly to music nomenclature, grammar and texts. The second is to develop a working knowledge of conversational French.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:

  • One written test of 1 hour (25%),and
  • one viva voce of approx. 15 minutes duration (25%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-245
GERMAN FOR MUSICIANS
Credit Points: 6.25
Coordinator: Dr David Kram
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject is designed to help students further prepare for possible study abroad and will include two basic areas of study. The first will deal with the language as it relates directly to music nomenclature, grammar and texts. The second is to develop a working knowledge of conversational German.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:

  • One written test of 1 hour (25%), and
  • one viva voce of approximately 15 minutes (25%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-246
GUITAR ENSEMBLE
Credit Points: 6.25
Coordinator: Anthony Field
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Performance Based Module.
The Guitar Ensemble rehearses and prepares programs of music suitable for the size and make up of the group. It will include original works by staff and students and will have as a basic component a substantial improvisatory content.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-247
HARMONIC & CONTRAPUNTAL DEVICES
Credit Points: 6.25
Coordinator: Elizabeth Mitchell
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject explores the foundations of harmonic and contrapuntal language of western music. The content is not genre-specific but deals with material and concepts which form the basis of western tonal music.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
A formal written examination of 1.5 hours duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-248
IMPROVISATION- AFRICAN AMERICAN JAZZ
Credit Points: 6.25
Coordinator: Ashley Cross
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject focuses primarily on the history of the African American Jazz tradition. It also has a practical component where students are expected to demonstrate various skills on their instrument and show an understanding of relevant concepts pertaining to the performance of African American Jazz. The practical aspect of this subject will happen within the context of the small ensemble.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%).

Formal:
One performance of approximately 15 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-249
IMPROVISATION TECHNIQUES
Credit Points: 6.25
Coordinator: Dr Robert Vincs
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject introduces the notion of spontaneous improvisation specifically designed for those musicians who have had little or no experience in the art of spontaneity as it relates to musical performance. It deals firstly with the breaking down of (perceived) inhibitions in the act of music making for those who have spent most of their music making governed by traditional notions of reading and learning music from the page.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One solo performance of approximately 5-7 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-250
PA & MIDI PERSPECTIVE
Credit Points: 6.25
Coordinator: Amarevois -
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject is for those who are new to MIDI and PA set ups. It will equip the student with all the information needed of MIDI to expand and enhance music production techniques. Areas covered in this class include MIDI devices, connections and channels/troubleshooting, MIDI synchronisation, MIDI implementation, MIDI messages, System Exclusive and setting up a PA (including identifying PA requirements).

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One practical test of approximately 10 minutes’ duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-252
POP SONG WRITING
Credit Points: 6.25
Coordinator: Mark Pollard
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject introduces the basics of song writing for the commercial music industry. Aspects of song form, lyric writing, “band” components and industry requirements will be examined. The subject in particular will allow for individual showing and investigation of original songs.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
Song writing major task: original song of 1-3 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-253
CHAMBER MUSIC (STYLE & CONTEXT)
Credit Points: 6.25
Coordinator: Jane Tallon
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject is designed to broaden student’s knowledge of chamber music repertoire from the baroque period through to music of our time. The subject will address areas such as style, analysis, historical context as well as discussion and research into modern day performance practice of a wide variety of chamber music works.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
Written and/or practical examination(s) of 60-90 minutes on the material studied in this subject (50%).

 

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-254
ADVANCED ORCHESTRATION
Credit Points: 6.25
Coordinator: Mark Pollard
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject studies arranging through an examination of relevant scores and the writing of short original extracts. Students will be given specific models to begin with, followed by more experimental writing. Trial and error will be a fundamental component of this subject.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-255
AFRO-AMERICAN PERCUSSION
Credit Points: 6.25
Coordinator: Ashley Cross
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Performance Based Module.
This module gives participants the opportunity for an in-depth practical study of percussion techniques and repertoire. The material is based on African derived drumming which over the centuries has continued to develop and flourish in the American continent. Classes will cover techniques on a variety of percussion instruments, the role of the various instruments in the ensemble, historical background and improvisation styles. The ensemble will rehearse and prepare material conducted and unconducted, suitable for public performance or recording.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-258
PRO TOOLS
Credit Points: 6.25
Coordinator: Joan Pollock
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject is an introduction to using Digidesign’s Pro Tools software. This course will provide the essential tools to start successfully recording, editing and mixing using Pro Tools. This subject also covers problem solving, computer configuration and equipment and software maintenance.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One practical test of approximately 10 minutes’ duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-320
PRINCIPAL STUDY 3.1
Credit Points: 12.5
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: E Mitchell

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual lessons will focus on the further development of skill, repertoire and current performance practices as they relate to the profession.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
In addition to the above, students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Practical Composition Stream
Coordinator: M Pollard

*
appropriate composition materials;
*
performances of compositions in Principal Study Workshop and College and Community Concerts;
*
further development of creative, notational, technical and orchestration skills;
*
a high level of self-evaluation in the craft of composition.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual composition practice of an average of 3 hours per day.

Improvisation Stream
Coordinator: A Pertout

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lessons: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

Repertoire Stream
Individual lessons will focus on the development of skill, repertoire and current performance practices as they relate to the profession.

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

*
the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
*
to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
*
communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
*
development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
*
development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
*
development of an appreciation and understanding of the individualistic nature of composition;
*
to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
*
to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
*
communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
*
development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
*
development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
*
development of an appreciation and understanding of the individualistic nature of performance;
*
to engage in constructive critical debate.

Assessment:

Repertoire Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Practical Composition Stream
Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Improvisation Stream
Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

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758-321
PRINCIPAL STUDY 3.2
Credit Points: 12.5
Contact hours: 12 lessons & 24 workshop hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: E Mitchell

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Estimated total time commitment:
In addition to the above, students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Practical Composition Stream
Coordinator: M Pollard

    *
      appropriate composition materials;
    *
      performances of compositions in Principal Study Workshop and College and Community Concerts;
    *
      further development of creative, notational, technical and orchestration skills;
    *
      a high level of self-evaluation in the craft of composition.

Individual Lesson: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual composition practice of an average of 3 hours per day.

Improvisation Stream
Coordinator: A Pertout

A study of appropriate repertoire and technical studies. Regular performances in workshop and other selected performance forums.

Individual Lesson: 12 lessons per semester which includes a number of Principal Study Forums determined by Departmental needs. Individual lessons are of 50 minutes duration and Principal Study Forums are of 2 hours duration.
Workshop: 24 hours per semester

Estimated total time commitment
Students are normally expected to undertake self-directed, individual practice of an average of 3 hours per day.

Objectives:

On completion of this subject students should have acquired the following skills:

  • the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
  • to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
  • communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
  • development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
  • development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
  • development of an appreciation and understanding of the individualistic nature of performance;
  • to engage in constructive critical debate.

Assessment:

Because of the individual nature of instruments/voice there are, by necessity, requirements unique to each department. All departments assess relevant technical skills and repertoire which demonstrates ongoing progress through the course.

Formal: Individual technical exam (80%) performances/practical tasks in workshop (20%).

Time Commitment:

Individual practice of 3 hours per day

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758-322
SPECIALIST RELATED STUDIES 3.1
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 24 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: E Mitchell
This subject consists of two or more components arranged to suit the specific requirements of each department:
Brass, Strings & Woodwind: Orchestral Materials
Percussion: Notated Materials and Genres
Guitar: Development of Repertoire, Sight-reading
Keyboard: Accompaniment, Sight-reading, Improvisation skills
Voice: Languages, Vocal Materials

Brass, Strings & Woodwind

* practical survey of standard repertoire
* sectional rehearsal of standard repertoire
* analysis and discussion of repertoire appropriate to particular instrumental areas
* preparation for orchestral careers

Percussion
* practical survey of repertoire
* analysis and discussion of key repertoire (and composer as applicable)
* orchestra and other ensembles existing in the profession

Guitar

* development of repertoire
* individual and ensemble sight-reading

Keyboard

* sight-reading and keyboard skills
* accompanying skills

Voice

* Languages – Phonetics (Year 1 – Semester 1) Italian (Year 1 – Semester 2), German (Year 2) and French (Year 3)
Basic Language Studies: this subject will focus on learning the correct pronunciation of these languages as they relate to the standard vocal repertoire. It will provide students with an introduction to the topic as we move through all of the component sounds of the languages with special emphasis on those that are challenging to non-native speakers.
* Vocal Materials: The aim of this subject is to explore creative purpose, the physical and acoustic elements within the act of singing, and their application in the professional world. Topics to be covered include vocal health and related issues; the young vocal instrument; basic principles of anatomy and acoustics (and their practical applications); a survey of current pedagogical theories of vocal technique; vocal terminology.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Practical Composition Stream
Coordinator: M Pollard

* cross-media compositional materials
* orchestration/arranging
* exploration and analysis of the technical, creative and general musical factors which affect composing for a variety of media including film and television, theatre and dance.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded music.

Improvisation Stream
Coordinator: A Pertout
This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

* detailed exploration of artistic and instrumental technical development
* development of an individual perspective in improvisation
* practical techniques of composition
* examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A

* Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

* Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
* Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
* Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded music.


Objectives:

Practical Composition Stream
On completion of this subject students should have acquired the following skills:
* the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
* to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
* communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
* development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
* development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
* development of an appreciation and understanding of the individualistic nature of composition;
* to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

* the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
* to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
* communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
* development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
* development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
* development of an appreciation and understanding of the individualistic nature of performance;
* to engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Brass, Strings & Woodwind
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Percussion
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Guitar
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 20 minutes duration (50%).

Keyboard
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 10 minutes duration (25%); One accompaniment test of approx. 15 minutes duration (25%)

Voice
Language Studies: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: A presentation of two texts specifically prepared and studied for this subject component in semester 1, and a presentation of two texts specifically prepared and studied for this subject component in semester 2 (50%).

Vocal Materials: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Group presentation semester 1 (25%) Individual presentation semester 2 (25%).

Practical Composition Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance (50%).

Formal: Presentation of an original composition involving other media beyond music (25%); Presentation performed and/or recorded of an original orchestration or arrangement specifically written for this subject (25%).

Improvisation Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-323
SPECIALIST RELATED STUDIES 3.2
Credit Points: 6.25
Coordinator: Alex Pertout
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: E Mitchell

This subject consists of two or more components arranged to suit the specific requirements of each department:
Brass, Strings & Woodwind: Orchestral Materials
Percussion: Notated Materials and Genres
Guitar: Development of Repertoire, Sight-reading
Keyboard: Accompaniment, Sight-reading, Improvisation skills
Voice: Languages, Vocal Materials

Brass, Strings & Woodwind

* practical survey of standard repertoire
* sectional rehearsal of standard repertoire
* analysis and discussion of repertoire appropriate to particular instrumental areas
* preparation for orchestral careers

Percussion

* practical survey of repertoire
* analysis and discussion of key repertoire (and composer as applicable)
* orchestra and other ensembles existing in the profession

Guitar

* development of repertoire
* individual and ensemble sight-reading

Keyboard

* sight-reading and keyboard skills
* accompanying skills

Voice

* Languages – Phonetics (Year 1 – Semester 1) Italian (Year 1 – Semester 2), German (Year 2) and French (Year 3)
Basic Language Studies: this subject will focus on learning the correct pronunciation of these languages as they relate to the standard vocal repertoire. It will provide students with an introduction to the topic as we move through all of the component sounds of the languages with special emphasis on those that are challenging to non-native speakers.

* Vocal Materials: The aim of this subject is to explore creative purpose, the physical and acoustic elements within the act of singing, and their application in the professional world. Topics to be covered include vocal health and related issues; the young vocal instrument; basic principles of anatomy and acoustics (and their practical applications); a survey of current pedagogical theories of vocal technique; vocal terminology.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Practical Composition Stream
Coordinator: M Pollard

* cross-media compositional materials
* orchestration/arranging
* exploration and analysis of the technical, creative and general musical factors which affect composing for a variety of media including film and television, theatre and dance.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Improvisation Stream
Coordinator: A Pertout
This subject consists of three components - Improvisation Materials (all year levels); Special Tutorials (Years 1 & 2); Recording Project (Year 3).

Improvisation Materials:

* detailed exploration of artistic and instrumental technical development
* development of an individual perspective in improvisation
* practical techniques of composition
* examination of ensemble performance techniques.

Special Tutorials: First and Second year students only. The tutorials consist of a series of specialist classes. All students will participate in Piano Tutorial plus a choice of one other Tutorial class.

Tutorial A
* Piano Tutorial: for non-pianists in order to develop basic piano techniques

Tutorial B
Series of specialist classes from which students will be assigned one. They are:

* Rhythm Section Tutorial: for the rhythm section player (piano, guitar, vibes, bass, percussion, drums)
* Mallet Tutorial: for drummers and percussionists to acquire essential technique on the family of mallet instruments.
* Improvisation Tutorial: for vocalists and other instrumentalists to develop skills in harmonic improvisation.

Recording Project: Third year students only. This tutorial is comprised of an individual studio recording session for students to record an original composition which forms part of a personal resource folio.

Estimated total time commitment
Students are normally expected to undertake self-directed study, of an average of 2 hours per day, embracing the study of, and research into, relevant repertoire and necessary skills to meet the specific requirements for each department as listed below. This should include regular periods of listening to recorded musics.

Objectives:

Practical Composition Stream
On completion of this subject students should have acquired the following skills:

* the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
* to be cognisant of and sympathetic to a broad range of musics and associated composition skills;
* communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
* development of an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
* development of the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
* development of an appreciation and understanding of the individualistic nature of composition;
* to engage in constructive critical debate.

Improvisation Stream
On completion of this subject students should have acquired the following skills:

* the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
* to be cognisant of and sympathetic to a broad range of musics and associated performance skills;
* communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
* development of an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
* development of the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
* development of an appreciation and understanding of the individualistic nature of performance;
* to engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Brass, Strings & Woodwind
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Percussion
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One notated materials examination of approx. 20 minutes duration (50%).

Guitar
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 20 minutes duration (50%).

Keyboard
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: One sight-reading test of approx. 10 minutes duration (25%); One accompaniment test of approx. 15 minutes duration (25%)

Voice
Language Studies: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: A presentation of two texts specifically prepared and studied for this subject component in semester 1, and a presentation of two texts specifically prepared and studied for this subject component in semester 2 (50%).

Vocal Materials: Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly undated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: Group presentation semester 1 (25%) Individual presentation semester 2 (25%).

Practical Composition Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance (50%).
Formal: Presentation of an original composition involving other media beyond music (25%); Presentation performed and/or recorded of an original orchestration or arrangement specifically written for this subject (25%).

Improvisation Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.
Formal: Improvisation Materials: Two tests relevant to an aspect(s) of the component (25%).
Special Tutorials: (Years 1 & 2) One class test relevant to an aspect(s) of the component (25%).
Recording Project: (Year 3) One recorded product suitable for inclusion in a personal resource folio (25%).

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758-324
ENSEMBLE 3.1
Credit Points: 12.5
Contact hours: Small ensemble – 15 hours per semester, Large ensemble - 12 hours per semester
Semester: Semester 1

Subject description:

Repertoire Stream
Coordinator: Jane Tallon

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study. Total 54 hours per semester, including 27 hours of self-directed study.

In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Practical Composition Stream
Coordinator: Mark Pollard

Composition students participate in directing/conducting and craft skill development in composition for Ensemble.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of conducting and music craft study.

Improvisation Stream
Coordinator: Alex Pertout

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Objectives:

Practical Composition

Upon completion of this subject students should be able to:

* develop the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
* be cognisant of and sympathetic to a broad range of musics and associated composition skills;
* develop communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician in the 21st century;
* develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
* develop the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
* develop an appreciation and understanding of the individualistic nature of composition;
* engage in constructive critical debate.

Improvisation Stream
Upon completion of this subject students should be able to:

* develop the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
* be cognisant of and sympathetic to a broad range of musics and associated performance skills;
* develop communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
* develop an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
* develop the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
* develop an appreciation and understanding of the individualistic nature of performance;
* engage in constructive critical debate.

Assessment:

Repertoire Stream
Continuous: Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (40%) – Hurdle requirement 80% attendance.

Formal: One small ensemble performance of approx. 20 minutes duration (60%). Hurdle requirement – participation in Large Ensemble.

Practical Composition & Improvisation Streams
Continuous: Preparation and commitment as demonstrated by craft and/or performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%) – Hurdle requirement 80% attendance.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Time Commitment: 81 hours

Time Commitment:

81 hours

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758-325
ENSEMBLE 3.2
Credit Points: 12.5
Coordinator: Alex Pertout
Contact hours: Small ensemble – 15 hours per semester, Large ensemble – 12 hours per semester
Semester: Semester 2

Subject description:

Repertoire Stream
Coordinator: J Tallon

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study. Total 54 hours per semester, including 27 hours of self-directed study.

Practical Composition Stream
Coordinator: M Pollard

Composition students participate in directing/conducting and craft skill development in composition for Ensemble.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of conducting and music craft study.

Formal: One small ensemble composition of approx. 20 minutes duration (25%). One large ensemble composition task (25%).

Improvisation Stream
Coordinator: A Pertout

Small ensembles normally consist of two or more players performing works designed to be played unconducted. Students are encouraged to investigate repertoire which allows for a balance between old and new music and a spread of instruments/voices within ensembles which goes beyond the traditional notion of chamber music. It is expected that ensembles rehearse regularly outside the formal supervised times.

In the case of composition students, this subject involves participation in directing/conducting a variety of ensembles.

Various large ensembles are arranged yearly depending on the student cohort and specific departmental and cross-departmental instrumental and vocal make up.

Estimated total time commitment
Students are expected to undertake self-directed study, including group rehearsals, of the equivalent of the supervised time. This should include regular periods of listening to recorded musics relevant to the area of study.

Objectives:

Practical Composition Stream
Upon completion of this subject students should be able to:

    *
      develop the ability to connect research into repertoire to actual composition and performance, and the development of creative skills across a wide spectrum of music;
    *
      be cognisant of and sympathetic to a broad range of musics and associated  composition skills;
    *
      develop communication skills in order to both understand all aspects of composition practice, and develop an understanding of life experience as a musician  in the 21st century;
    *
      develop an appreciation of solo and group composition, current (public) performance practice and the extra-musical aspects necessary for success in the presentation of a live event;
    *
      develop the necessary skills to combat performance anxiety and other elements which hinder the successful composition of music;
    *
      develop an appreciation and understanding of the individualistic nature of composition;
    *
      engage in constructive critical debate.

Improvisation Stream
Upon completion of this subject students should be able to:

    * develop the ability to connect research into repertoire to actual performance, and the development of creative skills of interpretation across a wide spectrum of music;
    * be cognisant of and sympathetic to a broad range of musics and associated performance skills;
    * develop communication skills in order to both understand all aspects of performance practice, and develop an understanding of life experience as a performer in the 21st century;
    * develop an appreciation of solo and group performance, current (public) performance practice and the extra-musical aspects necessary for success in the profession;
    * develop the necessary skills to combat performance anxiety and other elements which hinder the successful performance of music;
    * develop an appreciation and understanding of the individualistic nature of performance;
    * engage in constructive critical debate.

Time Commitment:

81 hours

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758-327
IMPROVISATION VOCAL ENSEMBLE
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Performance Based Module.
This ensemble rehearses and prepares programs, conducted and unconducted, a capella and accompanied, suitable for public performance or recording. The repertoire will embrace works from around the world and may include original compositions by students and staff.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-328
INDIGENOUS ENSEMBLE
Credit Points: 6.25
Coordinator: Joan Pollock
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Performance Based Module.
The Indigenous Ensemble, which may vary in size and instrumentation, rehearses and prepares programs suitable for public performance or recording. It explores works from various regions of Australia. A compulsory part of this subject is to gain a knowledge, appreciation and respect for the customs and practices of the culture from which the music emanates.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-329
INDIGENOUS MUSIC & CULTURE
Credit Points: 6.25
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject embraces both the performance and study of Australian indigenous music. Crucial to this semester is the gaining of knowledge as to how music and other facets of life connect with the indigenous culture. Comparisons will be made to western music and culture.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
A short paper of no more than 20 minutes duration on a topic relevant to subjects discussed in the seminar (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-330
ITALIAN FOR MUSICIANS
Credit Points: 6.25
Coordinator: Dr David Kram
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject is designed to help students further prepare for possible study abroad and will include two basic areas of study. The first will deal with the language as it relates directly to music nomenclature, grammar and texts. The second is to develop a working knowledge of conversational Italian.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One written test of 1 hour (25%) and one viva voce of approximately 15 minutes (25%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-331
KEYBOARD SKILLS (BEGINNER)
Credit Points: 6.25
Coordinator: Len Vorster
Prerequisites:

Audition process:
Students will be permitted to take one of the graded keyboard skills based on their current level of keyboard competence. This will be measured by documented attainment of their Australian Music Examination board grade level and/or will be auditioned by VCA keyboard staff in piano sight reading, piano score performance and piano technical skills (including scales and harmony patters) to determine their appropriateness for the keyboard module chosen.

There is no Starting Level or Audition required for Keyboard Skills (Beginner).
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
For students wishing or needing to improve basic keyboard skills. Areas to be covered include: scales, arpeggios, sight-reading, harmonization of melodic lines, improvisation over a chord progression, clef-reading (treble and bass), basic transposition, and will include preparation of selected repertoire appropriate to the individual’s skill level and interest. The class will be conducted in the Yamaha electronic keyboard laboratory.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One small ensemble performance of approximately 20 minutes (50%)

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-332
LATIN ENSEMBLE
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Peformance Based Module.
The Latin Ensemble, which can vary in size and instrumentation, rehearses and prepares programs, conducted and unconducted, suitable for public performance or recording. It explores works from various regions of Latin America.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-335
PERFORMANCE PSYCHOLOGY
Credit Points: 6.25
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Tutorial Based Module.
This subject studies some of the fundamental principles of psychology which relate directly to the performing musician. They include performance anxiety, memory and recall, communication with fellow players and audiences, pressures placed upon the contemporary performer and how to manage them. Connections between mind and body, methods of relaxation and preparation will be discussed.

 

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
A written research paper of approximately 1500 words or equivalent project as negotiated between the lecturer and student (50%).

Hurdle requirement 80% attendance.

 

Time Commitment:

12 hours contact & 12 hours study per semester

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758-336
PRIVATE STUDIO TEACHING
Credit Points: 6.25
Coordinator: Joan Pollock
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject is designed to alert students to the many skills required to be an effective and successful private teacher. The subject will address the basic issues of attendance, punctuality, adequacy of the private studio in attracting students, matters of ethics, protocol and language, dress, and the teaching of appropriate repertoire in order to achieve maximum results and pedagogical issues. It will also address matters which deal with the psychology of teaching and the need to be constructively critical when necessary, but at the same time nurturing a love of the art.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One formal practical demonstration with a student (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-337
RHYTHMIC DEVICES – NON SPECIFIC GENRES
Credit Points: 6.25
Coordinator: Jane Tallon
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject deals specifically with rhythm in music across a wide spectrum of genres, western and non-western. The aural perception of rhythms will be regarded as importantly as the reading of rhythms from the printed page, the latter being seen as vital in certain areas of the profession.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One practical test of approximately 10 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-338
STAGECRAFT FOR SINGERS
Credit Points: 6.25
Coordinator: Joan Pollock
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject enables performers (singers and instrumentalists) to develop further their skills in relation to movement on stage and general presentation in performance. This will be relevant not only to singers of opera and musical theatre but also to those wishing to become involved in multi-media art forms where performance on an instrument is only one facet of a whole event.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance/demonstration of approximately 15 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-339
STUDIO RECORDING & TECHNOLOGY
Credit Points: 6.25
Coordinator: Joan Pollock
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
This subject is designed to accommodate those who wish to pursue musical areas other than pure performance. This will aid in the career paths of those who wish to pursue the recording studio and its technology as a profession. The subject will compel students to spend part of the allotted time studying the practicalities of recording music, the current technology available, and the art of transferring live sounds to recordings to the satisfaction of performers and producers.

Objectives:

 

 

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One practical application of techniques learned throughout the semester. This will normally take the form of recording, editing and mastering a live performance of not more than 10 minutes duration (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-341
WORLD MUSIC ENSEMBLE
Credit Points: 6.25
Coordinator: Alex Pertout
Contact hours: 12 hours per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Performance Based Module.
This ensemble, variable in size and instrumentation according to student cohort, will focus on world music repertoire from both Australia and elsewhere. It will embrace works by composition students within the school and involve sessions, conducted and non-conducted, in which the ensemble will experiment with and prepare programs suitable for public performance or recording.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One performance or recording (50%).

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-342
KEYBOARD SKILLS (INTERMEDIATE)
Credit Points: 6.25
Coordinator: Joan Pollock
Prerequisites:

Audition process:
Students will be permitted to take one of the graded keyboard skills based on their current level of keyboard competence. This will be measured by documented attainment of their Australian Music Examination board grade level and/or will be auditioned by the Faculty keyboard staff in piano sight reading, piano score performance and piano technical skills (including scales and harmony patters) to determine their appropriateness for the keyboard module chosen.

The Starting Level required for Keyboard Skills (Intermediate) is an AMEB (Australian Music Examination Board) Grade 3 and/or successful completion of Keyboard Skills Basic. An audition is only required if no proof of qualification is attained.
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
For students wishing or needing to improve basic keyboard skills. Areas to be covered include: scales, arpeggios, sight-reading, harmonization of melodic lines, improvisation over a chord progression, clef-reading (treble and bass), basic transposition, and will include preparation of selected repertoire appropriate to the individual’s skill level and interest. The class will be conducted in the Yamaha electronic keyboard laboratory.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One small ensemble performance of approximately 20 minutes (50%)

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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758-343
KEYBOARD SKILLS (ADVANCED)
Credit Points: 6.25
Coordinator: Joan Pollock
Prerequisites:

Audition process:
Students will be permitted to take one of the graded keyboard skills based on their current level of keyboard competence. This will be measured by documented attainment of their Australian Music Examination board grade level and/or will be auditioned by the Faculty keyboard staff in piano sight reading, piano score performance and piano technical skills (including scales and harmony patters) to determine their appropriateness for the keyboard module chosen.

The Starting Level required for Keyboard Skills (Advanced) is an AMEB (Australian Music Examination Board) Grade 4 and/or successful completion of Keyboard Skills Intermediate. An audition is only required if no proof of level is attained.
Contact hours: 12 hours of tutorials per semester
Semester: Both Semesters

Subject description:

Cross Departmental Module.
Practical Tutorial Module.
For students who have completed Keyboard Skills (Beginner) and Keyboard Skills (Intermediate) or have achieved an appropriate level of keyboard musicianship as determined by the Lecturer. Areas to be covered include a more extensive understanding of sight-reading, harmonization of melodic lines, improvisation over a chord progression and transposition, and will include preparation of selected repertoire. The class will be conducted in the Yamaha electronic keyboard laboratory.

Assessment:

Continuous:
Preparation and commitment as demonstrated by performance tasks and/or a regularly updated journal of activities embracing all areas studied (50%).

Formal:
One practical test of approximately 10 minutes’ duration (50%), consisting of presentation of a combination of prepared material and sight-reading.

Hurdle requirement 80% attendance.

Time Commitment:

12 hours contact & 12 hours study per semester

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