Music Skills

Unit outlines will be available through Find a unit outline two weeks before the first day of teaching for 1000-level and 5000-level units, or one week before the first day of teaching for all other units.
 

Music Skills

Music Skills requirements apply to students undertaking the following degrees. Specific requirements are listed in the relevant enrolment pattern.
(a) BMusic
(b) BMusic (Composition)
(c) BMusic (Music Education)
(d) BMusic (Performance)
(e) BMusic/BAdvanced Studies (Composition)
(f) BMusic/BAdvanced Studies (Performance)
(g) Diploma of Music

Music Theory and Aural Skills

MCGY1000 Aural Perception 1

Credit points: 3 Teacher/Coordinator: Dr Alex Chilvers Session: Semester 1 Classes: One 1hr Lab and one 1hr Solfege tut/wk Assessment: In-class solfège exercises (20%); Transcription assignments (30%); Final examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Completion of a Music Skills Evaluation is essential prior to commencement. Students who have not completed this diagnostic test should contact the unit of study coordinator before the start of semester.
Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres, including rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017)
MCGY1001 Aural Perception 1A

Credit points: 3 Teacher/Coordinator: Dr Andrew Faleatua Session: Semester 1 Classes: One 1hr lab and one 1hr Solfege tut/wk Assessment: In-class solfège exercises (20%); Transcription assignments (30%); Final examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Completion of a Music Skills Evaluation is essential prior to commencement. Students who have not completed this diagnostic test should contact the unit of study coordinator before the start of semester.
Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017).
MCGY1002 Aural Perception 1B

Credit points: 3 Teacher/Coordinator: Dr Andrew Faleatua Session: Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1001 Assessment: In-class solfège exercises (20%); Transcription assignments (30%); Final examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Students continue to working on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre..
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017).
MCGY1003 Aural Perception 2

Credit points: 3 Teacher/Coordinator: Dr Alex Chilvers Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1000 or MCGY1002 Assessment: In-class solfège exercises (20%); Transcription assignments (30%); Final examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Students continue to work on dictation and sight singing exercises, broadening the scope of these to include modes and rhythms using sub- and super-triplets. Species counterpoint is studied alongside diatonic harmony, with a particular focus on the identification of seventh chords and their inversions.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017)
MCGY2004 Aural Perception 3

Credit points: 3 Teacher/Coordinator: Brett Mullins Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY1003 Assessment: Weekly Lab assignment (15%); Transcription assignment (15%); Solfege class work assessment (15%); 1hr Written examination (30%): 10 min Solfege examination (25%). Mode of delivery: Normal (lecture/lab/tutorial) day
Materials studied include more complex tonal melodies, chromatic tonal harmony, and rhythms using irregular division and small divisions.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017). Gary S. Karpinski: Manual for Ear Training and Sight Singing, New York, Norton. 2nd edition (2017)
MCGY2005 Aural Perception 4

Credit points: 3 Teacher/Coordinator: Brett Mullins Session: Semester 1,Semester 2 Classes: One 1hr Lab and one 1hr Solfege tut/wk Prerequisites: MCGY2004 Assessment: Lab homework assessments (20%), Solfège class assessments (20%), 1hr Lab exam (30%), 10 min Solfège exam: (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Materials studied include more complex chromatic tonal harmony, post-tonal and atonal melodic and harmonic materials, and more complex rhythmic materials including irregular and mixed metres.
Textbooks
Gary S. Karpinski and Richard Kram: Anthology for Sight Singing, New York; Norton. 2nd edition (2017).
MCGY1008 Harmony and Analysis 1

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 1 Classes: 1 lecture,1 tutorial/wk Assumed knowledge: Ability to read musical notation including treble and bass clefs, and knowledge of scales, intervals and triads in tonal music. Assessment: Assignments (35%), online quizzes (10%), examination (55%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Completion of a Music Skills Evaluation is essential prior to commencement. Students who have not completed this diagnostic test should contact the unit of study coordinator before the start of semester.
An understanding of the materials of tonal music is fundamental to all aspects of a student's musicianship. The acquisition of practical skills in harmony provides a means of examining in their essence issues of musical structure and technique that apply throughout the tonal repertoire. In the first semester students gain fluency in writing four-part harmonisations using diatonic vocabulary, learning the basic chord functions and voice-leading patterns that will provide a framework for later elaboration. Exercises in species counterpoint are included to assist in the comprehension of voice leading principles, and the linear conception of music is further explored through introductory exercises in analysis.
Textbooks
Gauldin Robert, Harmonic practice in tonal music. 2nd ed. NY: Norton, 2004.
MCGY1009 Harmony and Analysis 2

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY1008 Assessment: Assignments (35%), online quizzes (10%), examination (55%) Mode of delivery: Normal (lecture/lab/tutorial) day
Having acquired basic skills in voice leading and an understanding of diatonic chord functions, students are introduced to more advanced concepts that are encountered frequently in the tonal repertoire. These include modulation, diatonic sequences and techniques for working with instrumental textures. Counterpoint studies are continued, both in practice and in analysis, where some aspects of Baroque musical forms are considered.
Textbooks
Gauldin Robert. Harmonic practice in tonal music. 2nd ed NY: Norton, 2004
MCGY2010 Harmony and Analysis 3

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

Credit points: 3 Teacher/Coordinator: Lewis Cornwell Session: Semester 2 Classes: 1 lecture,1 tutorial/wk Prerequisites: MCGY2010 Assessment: Assignments (50%), examination (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
The study of pre-20th century tonal harmony is completed with a consideration of chromatic techniques, particularly those found in the music of the first half of the 19th century. An exhaustive study of later 19th century chromaticism is beyond the scope of a course at this level, but is intended that students will at least acquire the ability to look further into the music of that period as they encounter it. In keeping with the stylistic orientation of the course, emphasis is placed upon developing facility with instrumental textures and working with some of the smaller forms found in 19th century music.
Textbooks
Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004. Gauldin, Robert. Workbook for Harmonic Practice in Tonal Music. 2nd Ed NY: Norton, 2004.
JAZZ1621 Jazz Music Skills 1

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 4hr tutorials per week Assessment: Harmony and Arranging Module: Written harmony test (30%), classwork tasks and participation (15%), arranging tasks (55%). Keyboard module: Assignment tasks (100%). Aural Module: In-semester tests (40%), end of semester exam (60%). All modules must be passed in order for the student to proceed to Jazz Music Skills 2. Mode of delivery: Normal (lecture/lab/tutorial) day
Harmony and Arranging Module: This unit deals with the study of the harmony of standard jazz repertoire both from a theoretical angle and through the process of arranging for small jazz combos. Students will learn to understand and use basic harmonic rules and standard harmonic devices, diatonic progression and chord patterns.
Keyboard Module: Puts theoretical concepts covered in both the Harmony and Arranging and Aural Modules into practice using keyboard instruments.
Aural Module: Offers a systematic study of all simple intervals up to and including one octave, triadic harmony, four note chords in closed position and voice leading within these concepts, focusing on common harmonic movements that occur in the jazz repertoire.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"; Nestico, Sammy "The Complete Arranger"
JAZZ1622 Jazz Music Skills 2

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 4 hour tutorials per week Prerequisites: JAZZ1621 Assessment: Harmony and Arranging Module: Written harmony test (30%), classwork tasks and participation (15%) , arranging tasks (55%). Keyboard module: Assignment tasks (100%). Aural Module: In-semester tests (40%), End of semester exam (60%). All modules must be passed in order for the student to proceed to Jazz Music Skills 3. Mode of delivery: Normal (lecture/lab/tutorial) day
Harmony and Arranging Module: Deals with more advanced aspects of jazz music theory and arranging, such as voicing techniques for two to four horns, harmonisation of passing tones, clusters and other techniques. Students may be organised into ensemble-like groups and may be expected to bring their instruments to perform the works presented.
Keyboard module: Puts theoretical concepts covered in both the Harmony and Arranging and Aural Modules into practice using keyboard instruments.
Aural Module: Consolidates and expands upon concepts and skills introduced in Jazz Music Skills 1, and introduces compound intervals, open voicings, the addition of upper extensions to all chord types, and increasingly complex harmonic structures.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"
JAZZ2623 Jazz Music Skills 3

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2 x 2 hr tuts/week Prerequisites: JAZZ1622 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30%). Aural Module: Two class tests at 20% each, and end of semester exam at 60%. Mode of delivery: Normal (lecture/lab/tutorial) day
Harmony and Arranging Module: Concentrates on more complex harmonic material that forms the basis for Jazz Improvisation 3. Students will learn big band orchestration which will include ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers. Methods of reharmonisation of existing jazz and standard compositions will be explored further.
Aural Module: Consolidates and expands upon concepts and skills introduced in Jazz Music Skills 1 and 2, plus introducing advanced chord types, and increasingly complex harmonic structures. N.B Both the Harmony and Aural Modules must be passed in order for the student to proceed to Jazz Music Skills 4.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"; Nestico, Sammy "The Complete Arranger".
JAZZ2624 Jazz Music Skills 4

Credit points: 6 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2 x 2 hr tuts/week Prerequisites: JAZZ2623 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30%). Aural Module: Two class tests at 20% each, and end of semester exam at 60%. Mode of delivery: Normal (lecture/lab/tutorial) day
Harmony and Arranging Module: Students learn big band orchestration including ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers. Selected arrangements will be rehearsed and recorded by a Big Band. Students may study contemporary techniques encompassing elements of polytonality, serial composition, extended instrumental effects and textural voicings. This subject also deals with the harmonic concepts used in Jazz Improvisation.
Aural Module: Consolidates all concepts from Jazz Music Skills 1, 2 and 3. By its conclusion, students will have systematically examined, over four semesters, aural concepts that are essential to creative musical interplay in jazz performance. N.B Both the Harmony and Aural Modules must be passed in order for the student to complete.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band", Nestico, Sammy "The Complete Arranger"
MUSC1501 Extended Fundamentals of Music

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and written)/wk Assumed knowledge: HSC Music 2 Assessment: Written and online music theory assessment (70%), aural assessment (30%) including a final exam. Mode of delivery: Normal (lecture/lab/tutorial) day
Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of musical styles including classical music (past and present), jazz, popular music and film music. The Written tutorials build on the topics covered in the lectures. The Aural tutorials develop the students ability to listen musically and critically.
MUSC1503 Fundamentals of Music 1

Credit points: 6 Teacher/Coordinator: Dr Jonathan Byrnes Session: Semester 1,Semester 2 Classes: 1hr lecture and 2x 1hr tutorials (aural and written)/wk Assessment: Written and online music theory assessment (70%), aural assessment (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
An introduction to basic music literacy skills, including learning to read and write music, and an understanding of fundamental aspects of its structure and composition. The material covered in this unit of study concentrates upon the basics of music theory and listening to ensure that participants have a solid grounding for a firm understanding of music notation and organisation.
MUSC1504 Fundamentals of Music 2

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 1,Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and written)/wk Assessment: Written and online music theory assessment (60%), aural assessment (30%), participation (10%) including a final exam. Mode of delivery: Normal (lecture/lab/tutorial) day
A more advanced exploration of music literacy skills than MUSC1503. The material covered in this unit of study ranges from the broad to the specific: from an examination of musical elements and the way they are used in a variety of musical genres through to specific compositional aspects such as four-part writing. Analysis and compositional craft regarding melody, harmony and rhythm in classical and contemporary popular music are a central focus of this unit of study. Critical listening skills are developed in this unit of study.
MUSC2693 Fundamentals of Music 3

Credit points: 6 Teacher/Coordinator: Dr. Daniel Rojas Session: Semester 2 Classes: 1hr lecture and 2 x 1hr tutorials (aural and written)/wk Prerequisites: MUSC1504 Assessment: Written and online music theory assessment (70%), aural assessment (30%) including a final exam. Mode of delivery: Normal (lecture/lab/tutorial) day
Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of musical styles including classical music (past and present), jazz, popular music and film music. The Written tutorials build on the topics covered in the lectures. The Aural tutorials develop the students ability to listen musically and critically.
MUSC2695 Popular Music Theory

Credit points: 6 Teacher/Coordinator: Dr Daniel Rojas Session: Semester 1 Classes: 1 x 1hr lecture, 1 x 1hr written tutorial, 1 x 1hr aural tutorial Assessment: Weekly assignment tasks (30%), 1 x Composition and Analysis final project (40%), weekly auralia tests (10%), 1 x mid-semester aural exam (5%), 1 x final aural exam (15%) Mode of delivery: Normal (lecture/lab/tutorial) day
The culmination of the Fundamentals of Music series, this unit of study is an exploration of musical language used in contemporary popular, film and world music repertoire from ca. 1960 to the present. The focus is on compositional techniques, analytical tools and workflow that relates to contemporary music practitioners. Lectures will examine the given topic for that week with references to examples drawn from a list of repertoire for that topic. These examples will be discussed further in the written tutorials and supported by weekly homework. An important outcome of this unit of study is the final assignment, in which students apply the knowledge accrued over the semester in an original composition, which they also analyse. Aural Tutorials will draw on these topics to develop skills relating to the student's ability to perceive and interpret musical elements and procedures.
JAZZ3301 Rhythm Awareness/Analysis

Credit points: 3 Teacher/Coordinator: Simon Barker Session: Semester 1 Classes: 12 x 2 hour lectures Assessment: Class assessment 1 (20%); Class assessment 2 (20%); Rhythmic analysis (40%); Class assessment 3 (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Non-Jazz degree students may take this unit after completion of their Principal Study 4 with the approval of the Unit Coordinator.
This unit of study is an elective course in rhythm that introduces students to a broad range of material, including case studies of influential local and international approaches to rhythm construction, and overviews of various rhythmic traditions from Asia, Latin America, the USA, Africa, and India. Without doubt, rhythm has become the primary organisational tool in contemporary jazz performance, with many of the world's most influential jazz artists now employing complex rhythmic structures, odd-time signatures, odd-rhythmic groupings, metric modulations, as well as rhythmic models from traditional music styles, as basic structural frameworks and improvisational prompts.

Music Skills electives

JAZZ1015 Jazz Ear Training 1

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Assessment: Two tests (2x20%), one 2 hour exam (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit offers a systematic study of all simple intervals up to and including one octave, triadic harmony, four note chords in closed position and voice leading within these concepts, focusing on common harmonic movements that occur in the jazz repertoire.
JAZZ1016 Jazz Ear Training 2

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ1015 Assessment: Two tests (2x20%), one 2 hour exam (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1, plus introducing compound intervals, open voicings, the addition of all upper extensions to all chord types, and increasingly complex harmonic structures.
JAZZ2038 Jazz Ear Training 3

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1016 Assessment: Two tests (2x20%), one 2 hour examination (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1 and 2, plus introducing advanced chord types, and increasingly complex harmonic structures.
JAZZ2039 Jazz Ear Training 4

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2038 Assessment: Two tests (2x20%),one 2 hour examination (60%) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit consolidates all concepts from Jazz Ear Training 1, 2 and 3. By its conclusion, students will have systematically examined, over four semesters, aural concepts that are essential to creative musical interplay in jazz performance.
JAZZ1019 Jazz Harmony and Arranging 1

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2 hours per week Assessment: Written harmony test (30%), classwork tasks and participation (15%) , arranging tasks (55%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit explores the study of the harmony of standard jazz repertoire both from a theoretical angle and through the process of arranging for small jazz combos. Students will learn to understand and use basic harmonic rules and standard harmonic devices, diatonic progression and chord patterns.
Textbooks
Lindsay, Gary (2005) 'Jazz Arranging Techniques from Quartet to Big Band'; Nestico, Sammy 'The Complete Arranger'
JAZZ1020 Jazz Harmony and Arranging 2

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2 hours per week Prerequisites: JAZZ1019 Assessment: Written harmony test (30%), classwork tasks and participation (15%) , arranging tasks (55%). Mode of delivery: Normal (lecture/lab/tutorial) day
In this unit, voicing techniques for two to four horns, harmonisation of passing tones, clusters and other techniques will be introduced. The harmonic techniques explored are used as the theoretical basis for Jazz Improvisation.
Textbooks
Lindsay, Gary (2005) "Jazz Arranging Techniques from Quartet to Big Band"; Nestico, Sammy "The Complete Arranger"
JAZZ2016 Jazz Harmony and Arranging 3

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 1 Classes: 2hr tut/wk Prerequisites: JAZZ1020 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30% total) Mode of delivery: Normal (lecture/lab/tutorial) day
This unit concentrates on more complex harmonic material that forms the basis for Jazz Improvisation, as well as learning arranging techniques for five horns and more complex ensemble music. Methods of reharmonisation of existing jazz and standard compositions will be introduced. Students learn big band orchestration which includes ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers.
Textbooks
Lindsay, Gary (2005) 'Jazz Arranging Techniques from Quartet to Big Band'; Nestico, Sammy "The Complete Arranger"
JAZZ2017 Jazz Harmony and Arranging 4

Credit points: 3 Teacher/Coordinator: Craig Scott Session: Semester 2 Classes: 2hr tut/wk Prerequisites: JAZZ2016 Assessment: Written harmony test (30%), Classwork (15%) , End of Semester large arrangement (25%), 3 x smaller arrangements at 10% each (30%) Mode of delivery: Normal (lecture/lab/tutorial) day
Students learn big band orchestration including ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers. Selected arrangements may be rehearsed by a Big Band. Students may study contemporary techniques encompassing elements of polytonality, extended instrumental effects and textural voicings.
Textbooks
Lindsay, Gary (2005) 'Jazz Arranging Techniques from Quartet to Big Band'; Nestico, Sammy "The Complete Arranger"
JAZZ3631 Music Business Skills

Credit points: 6 Teacher/Coordinator: David Theak Session: Semester 2 Classes: 2hr lect/wk Assessment: Press Kit (35%), Tour Plan (65%) Mode of delivery: Normal (lecture/lab/tutorial) day
Music Business Skills is designed to prepare graduating students for the non-musical aspects of their forthcoming career. The unit is designed as an overview of the many different facets of the music industry, including setting up a small music business (including taxation overview and responsibilities), funding sources and alternatives, tour planning and budgeting, producing and designing promotional tools, dealing with record companies/music publishing, and other essential techniques and requirements of running a successful music business in today's competitive arts environment.

Music Technology units

CMPN1013 Creative Music Technology

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

Credit points: 3 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 1,Semester 2 Classes: 1 hr lect/wk, 1 hr lab class/wk Assessment: Stereo Recording (60%), Online Quiz (30%), Participation (10%) Mode of delivery: Normal (lecture/lab/tutorial) day
In this unit of study students will be introduced to a range of audio technologies and gain a basic proficiency in sound recording, editing and mixing. Students will experience working in the Conservatorium sound studios, and learn how to make good quality recordings with portable recording devices. This unit of study also examines microphone design, stereo microphone techniques and digital audio recording. Students will experience prac-based recording sessions to gain a comprehensive understanding of the recording technology on offer at the Sydney Conservatorium.
CMPN2007 Sound Recording Advanced

Credit points: 3 Teacher/Coordinator: Dr Daniel Blinkhorn Session: Semester 2 Classes: 2hr studio, workshop, class and student group focused projects Prerequisites: CMPN2006 or CMPN1014 Assumed knowledge: Proficiency in an industry standard DAW and the ability to understand basic microphone and recording techniques. Assessment: Class Attendance and Participation and presentation (20%), Recording Project 1 (35%), Recording Project 2 (45%), Mode of delivery: Normal (lecture/lab/tutorial) day
This unit follows on from Sound Recording Fundamentals with a variety of both theoretical and practical applications and aesthetics within the studio-based recording environment. Additional topics include frequency response/spectral range and shaping, dynamic range (to compress, or not to compress), DSP functionaility in pre- and post- production and analysis of audio mixdowns and concurrent mixing techniques.
CMPN2631 Electroacoustic Music

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

Credit points: 6 Teacher/Coordinator: Dr Ivan Zavada Session: Semester 2 Classes: 2 hr lect/wk, 1 hr lab class. Prerequisites: MUED1002 or CMPN1013 or MUSC2653 Assessment: 2 programming assignments (2x25%), final project (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit will focus on computer based music composition utilising formal processes to create music with computers. This unit investigates an interactive graphical programming environment for music, audio and media called Max, allowing the composer to program and implement interactive music processes quickly and with varying levels of sophistication, thus encouraging the student to explore real-time creative possibilities of digital music technology.
CMPN3634 Interactive Media and Sound Installations

Credit points: 6 Teacher/Coordinator: Dr Benjamin Carey Session: Semester 2 Classes: 2 hr lect/wk Prerequisites: CMPN1013 or MUSC2653 Assessment: Sound Apparatus Project Presentation (25%), Relation Agents Group Project Presentation (25%), Final Project Public Presentation/Performance (50%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: The unit makes use of interactive programming techniques and other technical skills taught in CMPN2631/2632. Enrolling concurrently in one of these subjects alongside CMPN3634 is recommended.
This unit will focus on electronic music composition involving new paradigms brought about by real-time performance, installations, network technology, human computer interaction, gestural control and integration with visual arts and video animations. This unit of study will also investigate the available literature on topics such as multimedia, interactive and installation work in the context of contemporary sound art practice.
CMPN3635 Writing Music for the Moving Image

Credit points: 6 Teacher/Coordinator: Dr Daniel Blinkhorn Session: Semester 1 Classes: 6 x 1 hour lectures for the first six weeks; 6 x 2 hour tutorials thereafter Prerequisites: MUED1002 or CMPN1013 or MUSC2653 or MUED4002 Assessment: Written paper (20%), Presentation (30%), Final Music (50%) Mode of delivery: Normal (lecture/lab/tutorial) day
The unit provides a practical introduction into the creation of, and aesthetics for music and
moving image. Topics for discussion will include, but are not be limited to: relationships
between image and sound, diegetic and non-diegetic sound, thematic development,
partnerships between composers, directors and other such collaborations within the creative
sector, sound design, music for games and animation, and non-commercial applications of
music for image (audiovisual art, cymatics etc). The unit seeks to enable
students the ability to develop a skillset within their own studio spaces for the creation and
dissemination of their projects; both at a sector ready, as well as a technically proficient level.
Importantly, students will be presented with a variety of possible projects and collaborations
with industry partners across differing creative sectors.
CMPN3636 Live Electronic Music Performance

Credit points: 6 Teacher/Coordinator: Dr Benjamin Carey Session: Semester 1 Classes: 1 x 1hr lecture per week, 1 x 2hr tutorial per week Prerequisites: (CMPN1013 or MUSC2653) and (CMPN1631 or CMPN1632) Assumed knowledge: Students enrolling in this Unit of Study are expected to have previous experience with music technology, including recording and music creation software. Students will be expected to perform. Assessment: 1 x 1500 word essay (30%), 1 x Group Performance (30%), 1 x Solo Performance and Reflective Diary (40%) Mode of delivery: Normal (lecture/lab/tutorial) day
Live Electronic Music Performance is an innovative and diverse area of contemporary performance practice. Posing significant and exciting challenges for the rendering of music using digital technology, Live Electronic Music Performance requires genuine interdisciplinary skills such as technical development and problem solving, improvisation, musical composition, live sound reinforcement and ensemble communication. This area of performance employs a wide range of technologies, musical styles and performance methodologies. This unit aims to give students the skills necessary to navigate the various tools and techniques available in order to create innovative live performances using electronic and digital technologies.
MUSC2653 Introduction to Digital Music Techniques

Credit points: 6 Teacher/Coordinator: Dr Damian Barbeler Session: Semester 1 Classes: 2 hr lecture/demonstration/wk Assessment: Sound recording and editing assignment (30%); creative assignments (60%); online assessments, attendance and participation (10%). Mode of delivery: Normal (lecture/lab/tutorial) day
Note: An ability to read music at a basic level and an understanding of fundamental musical terminology is an advantage in this unit of study.
This unit is an introduction to the use of digital sound and music in creative and multimedia contexts. It is a practical course in which students are introduced to tools of sound creation and manipulation. Students will undertake creative projects as a means to learning. In addition, participants will be exposed to a number of approaches to electroacoustic music across the 20th and 21st centuries.
MUSC3603 Advanced Digital Music Techniques

Credit points: 6 Teacher/Coordinator: Dr Damian Barbeler Session: Semester 2 Classes: 3 hr lecture/demonstration/wk Prerequisites: MUSC2653 or CMPN1013 Assessment: Creative assignments (80%), Weekly review and presentation of work (20%). Mode of delivery: Normal (lecture/lab/tutorial) day
This unit is an advanced exploration of digital sound and music in creative and multimedia contexts. It is a subject in which students are expected to make sophisticated use of sound creation and manipulation tools in pursuit of their own musical ideas. Students will undertake creative projects as a means to learning. An ability to read music at a basic level and an understanding of fundamental musical terminology is an advantage in this unit of study.

Practical Keyboard Skills

CPNO1603 Practical Keyboard Skills 1

Credit points: 6 Teacher/Coordinator: Assoc. Prof Jeanell Carrigan Session: Semester 1,Semester 2 Classes: 90 minute practical class (tutorial) per week; Students would be expected to practise for at least 4 hours per week Assessment: Sight Reading Module (25%); Transposition Module (25%); Score Reading/Clef Reading (25%); Figured Bass (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Must have keyboard skills and reasonable music reading skills.
This unit of study is designed to develop practical reading and playing skills for keyboard players without spending time learning difficult repertoire. The focus will be on building sight reading competence, transposition, clef reading, figured bass realisation and score reading, working on the keyboard and not from an only theoretical position.
CPNO1604 Practical Keyboard Skills 2

Credit points: 6 Teacher/Coordinator: Assoc. Prof Jeanell Carrigan Session: Semester 1,Semester 2 Classes: 90 minute practical class (tutorial) per week; Students would be expected to practise for at least 4 hours per week Prerequisites: ACCP1603 or CPNO1603 Assessment: Sight Reading Module (25%); Transposition Module (25%); Score Reading/Clef Reading (25%); Figured Bass (25%) Mode of delivery: Normal (lecture/lab/tutorial) day
Note: Must have keyboard skills (up to at least an AMEB 4th grade level) and reasonable music reading skills.
This unit is a continuation of ACCP1603/CPNO1603 and is designed to develop basic musical skills through the medium of a keyboard. The focus will be on building sight reading competence, working on transposition, clef reading, figured bass realisation and score reading using the keyboard and not from a theoretical standpoint.