This unit provides a practical introduction to recording projects. Aspects of creative production are examined alongside project planning, management and the professional delivery of master recordings to appropriate standards. The student, in consultation with their supervisor, will devise a program of practical recording projects. This program will integrate into the existing musical activities that occur at the Conservatorium and as such the hours will be flexible and may include, evening and weekend projects. In addition students will be required to attend and participate in a number of seminars/workshops.

This course examines historical performing practices up to the present day aiming to widen understanding of the extent to which musical notation and written evidence preserve the performing practices of past eras. The wealth of sound recordings from the turn of the twentieth century provides a window into the near past. Issues to explore include: sound production (vibrato, non-vibrato and portamento in the case of string and wind playing and singing), expressive keyboard techniques (manual asynchrony and arpeggiation), and more general issues such as tempo rubato, tempo modification, ornamentation, articulation, and phrasing. The course will introduce students to varying performance styles, some of which are no longer generally in fashion, increasing the palette of musical choices and solutions and increasing the dimensions of understanding of specific repertoire.

This unit of study aims to promote aural understanding of the elements of music and the ways in which these elements function in musical structures. It aims to develop already acquired skills of aural perception to the level requisite of a music professional through exercises in aural analysis and aural imagination. A range of musical styles will provide the focus for study with emphasis on melodic, harmonic and rhythmic features, as well as tonal design.

This unit is designed to introduce students to the current state of music analysis, and to enable them to develop expertise in analytical methodologies relevant to their research interests. A range of analytical approaches to Western Art Music 1700-1945 will be explored in the seminars, including Schenkerian reduction techniques; Formenlehre theories and their recent offshoot, 'deformation' theory; motivic and harmonic analysis (in tonal and post-tonal music); and narrative and semiotic approaches. The focus of the course will be balanced between theoretical exposition of the principles involved, and practical applications of the various methods to relevant repertoire.

This course is designed to prepare students for undertaking their own research projects in music. It will introduce and develop students' awareness of recent musical scholarship and research methodologies and equip students with skills to design and conduct research across a wide variety of musical topics. Students will begin exploration of the topic area that is the intended focus for their research during their degree. The seminars culminate with a series of student presentations, in which students present their research proposals to students and staff for discussion.

Students will take a postgraduate seminar, normally drawn from the list of electives on offer in each semester. Note that some instrumental or research areas may have particular requirements or recommendations for choice of seminars. Subject to approval, a postgraduate unit of study offered by another faculty may also be taken.

This seminar focuses on the epistemology of research in music and the practical applications of such knowledge to students' own developing research project. The aim is to develop a breadth of experience in music research through a 'cohort' experience. The seminar includes presentations and discussion from senior researchers at the SCM, attendance at the SCM Musicology Colloquium Series, active participation in class activities, and presentation of a research poster suitable for a conference relevant to the students' research areas.

Students will take a postgraduate seminar, normally drawn from the list of electives on offer in each semester. Note that some instrumental or research areas may have particular requirements or recommendations for choice of seminars. Subject to approval, a postgraduate unit of study offered by another faculty may also be taken.

Students will take a postgraduate seminar, normally drawn from the list of electives on offer in each semester. Note that some instrumental or research areas may have particular requirements or recommendations for choice of seminars. Subject to approval, a postgraduate unit of study offered by another faculty may also be taken.

This unit promotes dialogue across teaching specialisations and focuses on three broad areas related to studio pedagogy. Firstly aspects of educational psychology, such as the cognition, motivation, and self-regulation will be examined within a developmental context. Secondly, the psychology of music will be applied to the development of musical performance and perceptual skills. Thirdly, research on effective teaching within and beyond the music studio will be addressed, including aspects of cultural context, curriculum, and assessment. A critical engagement in a range of research literature
and scholarly writing skills are developed throughout the unit of study and practical implementation of pedagogical principles is practised in peer-teaching dyads.