Outline

Overview

This unit of study will examine the teaching and learning of composition in schools with a models-based pedagogy. Through the completion of small-scale arranging and composition exercises students will develop strategies to successfully integrate composition into their teaching and experience ways in which composition can be seen as a site of music learning. Students will survey sampling, sequencing and notation software, develop skills in software evaluation suitable for composition, and discuss how technology can enhance the teaching and learning of composition. Strategies for assessing composition work will be considered.

Unit details and rules

Academic unit	Music Education
Credit points	3
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	James Humberstone, james.humberstone@sydney.edu.au

Assessment

The census date for this unit availability is 31 March 2026

Details
Criteria

Type	Description	Weight	Due	Length	Use of AI
Creative work	EFT - Compose a melody in D Dorian See the Canvas site for more information. Assessment of ITE CC 3.2.2, 4.2.2.	0%	Week 02 Due date: 02 Mar 2026 at 23:59 Closing date: 12 Mar 2026	8 bars	AI allowed
Outcomes assessed:
Creative work	Arrange a piece for classroom ensemble Please see the Canvas site for more details. Assessment of ITE CC 3.2.2.	30%	Week 06 Due date: 02 Apr 2026 at 23:59 Closing date: 16 Apr 2026	1000 words equivalent	AI allowed
Outcomes assessed:
Written work	Teaching composition through baby steps Please see the Canvas site for more details. Assessment of ITE CC 1.1.3, 2.1.2, 3.2.2, 4.2.2.	20%	Week 10 Due date: 06 May 2026 at 23:59 Closing date: 20 May 2026	1000 words equiv.	AI allowed
Outcomes assessed:
Creative work	Compose and record an original piece Please see the Canvas site for more details. Assessment of ITE CC 4.2.2.	50%	Week 13 Due date: 29 May 2026 at 23:59 Closing date: 12 Jun 2026	2 minutes plus written journal	AI allowed
Outcomes assessed:
= hurdle task ? = early feedback task ?

Assessment summary

Detailed information for each assessment can be found on Canvas.

Assessment criteria

Please see the Canvas site for a custom marking rubric for every assessment task in this UoS.

For more information see guide to grades.

Use of generative artificial intelligence (AI)

You can use generative AI tools for open assessments. Restrictions on AI use apply to secure, supervised assessments used to confirm if students have met specific learning outcomes.

Refer to the assessment table above to see if AI is allowed, for assessments in this unit and check Canvas for full instructions on assessment tasks and AI use.

If you use AI, you must always acknowledge it. Misusing AI may lead to a breach of the Academic Integrity Policy.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The University expects students to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

Our website provides information on academic integrity and the resources available to all students. This includes advice on how to avoid common breaches of academic integrity. Ensure that you have completed the Academic Honesty Education Module (AHEM) which is mandatory for all commencing coursework students

Penalties for serious breaches can significantly impact your studies and your career after graduation. It is important that you speak with your unit coordinator if you need help with completing assessments.

Visit the Current Students website for more information on AI in assessments, including details on how to acknowledge its use.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Support for students

The Support for Students Policy reflects the University’s commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

Weekly schedule

WK	Topic	Learning activity
Week 01	Primary pedagogies and musical creativities. Defining musical creativities. Orff-Keetman Schulwerk arrangements as a template for student improvisation and composition. What’s the scaffolding for composition? (Models, baby steps.) Teacher identity, improvisation, and composition. Introducing the Early Feedback Task (Task 1): improvise a solo over an Orff-style background. ITE Core Content 1.1.3, 2.1.2, 4.2.2	Lecture (1 hr)
Week 01	Primary pedagogies and musical creativities. Defining musical creativities. Orff-Keetman Schulwerk arrangements as a template for student improvisation and composition. What’s the scaffolding for composition? (Models, baby steps.) Teacher identity, improvisation, and composition. Introducing the Early Feedback Task (Task 1): improvise a solo over an Orff-style background. ITE Core Content 1.1.3, 2.1.2, 4.2.2	Tutorial (1 hr)
Week 02	The creative music movement influence on teaching composition today. Graphic scores in the new K-6 Creative Arts syllabus; composition as 1/3 of the syllabi; experimental approaches to composition, and the composition journal. Introducing teacher identity, composition, and Baby Steps. • Composers in Music Education. Historical review of roles and approaches. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 4.2.2	Lecture (1 hr)
Week 02	The creative music movement influence on teaching composition today. Graphic scores in the new K-6 Creative Arts syllabus; composition as 1/3 of the syllabi; experimental approaches to composition, and the composition journal. Introducing teacher identity, composition, and Baby Steps. • Composers in Music Education. Historical review of roles and approaches. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 4.2.2	Tutorial (1 hr)
Week 03	Australia’s place in international research and practice: the legacy of Richard Gill. Drawing on two chapters from the latest research: (i) Creating Music with Richard Gill, and (ii) composition in schools in this year’s ISME World Conference host country, Canada. What are the Baby Steps? ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Lecture (1 hr)
Week 03	Australia’s place in international research and practice: the legacy of Richard Gill. Drawing on two chapters from the latest research: (i) Creating Music with Richard Gill, and (ii) composition in schools in this year’s ISME World Conference host country, Canada. What are the Baby Steps? ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Tutorial (1 hr)
Week 04	Writing mixed bag arrangements, and polytechnicality including students who don’t read traditional music notation. Commercially available mixed bag arrangements, and what we can learn about arranging from them. Plus, how do students who don’t read traditional notation learn music? Discussion of Task 2.	Lecture (1 hr)
Week 04	Writing mixed bag arrangements, and polytechnicality including students who don’t read traditional music notation. Commercially available mixed bag arrangements, and what we can learn about arranging from them. Plus, how do students who don’t read traditional notation learn music? Discussion of Task 2.	Tutorial (1 hr)
Week 05	Mixed bag arrangements workshop. All students must bring a draft of their mixed bag arrangement, and an instrument to play others’ arrangements on.	Lecture (1 hr)
Week 05	Mixed bag arrangements workshop. All students must bring a draft of their mixed bag arrangement, and an instrument to play others’ arrangements on.	Tutorial (1 hr)
Week 06	Randles "Teacher as Producer" and Hein’s "Learning Something Deep”. Beginning songwriting and production in Stage 4. Composition/production as the starting and central point of music learning in modern cultures. Making without first performing or (formally) studying model repertoire. Drum beat programming as a primer for creativity. Sequencing and step sequencing technologies: approaches to liberating teens with technology. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Lecture (1 hr)
Week 06	Randles "Teacher as Producer" and Hein’s "Learning Something Deep”. Beginning songwriting and production in Stage 4. Composition/production as the starting and central point of music learning in modern cultures. Making without first performing or (formally) studying model repertoire. Drum beat programming as a primer for creativity. Sequencing and step sequencing technologies: approaches to liberating teens with technology. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Tutorial (1 hr)
Week 07	Randles "Growing Songwriting". Extending songwriting and production in Stage 5. Songwriting, with a focus on Randles’ strategies for lyric writing. The baby steps are back. Randles book as a model for Task 3. ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Lecture (1 hr)
Week 07	Randles "Growing Songwriting". Extending songwriting and production in Stage 5. Songwriting, with a focus on Randles’ strategies for lyric writing. The baby steps are back. Randles book as a model for Task 3. ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Tutorial (1 hr)
Week 08	Kuhn & Hein’s "Electronic Music School”. Extending songwriting and production in Stage 6, specifically toward the new Music 1 syllabus, which includes a mandatory composition component (20% of external assessment) submitted as recording-only. Getting students to create a composition journal, not just for assessment, but to make the composition better. Future bass and other genre-based projects. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Lecture (1 hr)
Week 08	Kuhn & Hein’s "Electronic Music School”. Extending songwriting and production in Stage 6, specifically toward the new Music 1 syllabus, which includes a mandatory composition component (20% of external assessment) submitted as recording-only. Getting students to create a composition journal, not just for assessment, but to make the composition better. Future bass and other genre-based projects. [More in full document.] ITE Core Content 1.1.3, 2.1.2, 3.2.2, 4.2.2	Tutorial (1 hr)
Week 09	First steps in notated composition The inner ear and notated composition. Scaffolding notated composition for students who have elementary notation skills. The compositional requirements of the Stage 5 syllabus. Planning for students who are heading toward Music 2. Assessing Music 2 compositions, and beginning your own (toward Task 4). Available resources & professional development for teaching these stages. [More in full document.] ITE Core Content 1.1.3	Lecture (1 hr)
Week 09	First steps in notated composition The inner ear and notated composition. Scaffolding notated composition for students who have elementary notation skills. The compositional requirements of the Stage 5 syllabus. Planning for students who are heading toward Music 2. Assessing Music 2 compositions, and beginning your own (toward Task 4). Available resources & professional development for teaching these stages. [More in full document.] ITE Core Content 1.1.3	Tutorial (1 hr)
Week 11	HSC Music 2 Core composition The Music 2 core composition requirements, with specific reference to the new Music 2 syllabus. The new electives in Music 2: which students should choose the composition? Masterclass on your draft compositions.	Lecture (1 hr)
Week 11	HSC Music 2 Core composition The Music 2 core composition requirements, with specific reference to the new Music 2 syllabus. The new electives in Music 2: which students should choose the composition? Masterclass on your draft compositions.	Tutorial (1 hr)
Week 12	HSC Music 2 Core composition Second masterclass on your draft compositions, this time with professional musicians. Reflexive discussion on how this process supports your composition, and how you can implement this (or something like this) in your own school. Barriers (funding, technology, management support) and how to break through them.	Lecture (1 hr)
Week 12	HSC Music 2 Core composition Second masterclass on your draft compositions, this time with professional musicians. Reflexive discussion on how this process supports your composition, and how you can implement this (or something like this) in your own school. Barriers (funding, technology, management support) and how to break through them.	Tutorial (1 hr)
Week 13	HSC Music 2 Core composition Recordings, with professional musicians.	Lecture (1 hr)
Week 13	HSC Music 2 Core composition Recordings, with professional musicians.	Tutorial (1 hr)

Attendance and class requirements

Students must attend all classes.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 3 credit point unit, this equates to roughly 60-75 hours of student effort in total.

Required readings

All readings for this unit can be accessed on the Library eReserve link available in the Canvas site for this unit. Only the Randles (2024) reading is mandatory in advance of class (week 11, please read pages 22-33), but referring to all texts will improve your success in the UoS. The readings referred to in the weekly learning activities are:

Bolden, B. (2023). Teaching composition in Canadian music classrooms. In K. Devaney, M. Fautley, J. Grow, & A. Ziegenmeyer (Eds.), The Routledge Companion to Teaching Music Composition in Schools: International Perspectives. Routledge. https://doi.org/10.4324/9781003184317

Burnard, P. (2017). Teaching music creatively. Routledge, an imprint of the Taylor & Francis Group.

Burnard, P., & Randles, C. (Eds.). (2023). The Routledge Companion to Creativities in Music Education. Routledge. https://doi.org/10.4324/9781003248194

Coyle, J. (2019). An appraisal of the polytechnical works of Benjamin Britten [University of Sydney]. https://ses.library.usyd.edu.au/handle/2123/20344

Coyle, J. (2023a). Spotlight Concerto Series—Olden Dances—Alto Sax. Matt Klohs. https://mattklohs.com/products/spotlight-concerto-olden-dances-alto-sax

Coyle, J. (2023b, February 21). Poly-technical arranging for your ensemble. Beginner Orchestra. https://beginnerorchestra.com/blog/poly-technical-arranging/

Devaney, K., Fautley, M., Grow, J., & Ziegenmeyer, A. (Eds.). (2023). The Routledge Companion to Teaching Music Composition in Schools: International Perspectives. Routledge. https://doi.org/10.4324/9781003184317

Frazee, J., & Kreuter, K. (1987). Discovering Orff. Schott Music Corporation.

Friesen, D. (2012). Creative Traction Ideas. The Canadian Music Educator, 53(4), 8. Arts Premium Collection; ProQuest One Academic.

Giddings, S. (2022). Technology for Unleashing Creativity: Practical Tips and Tools for Music Educators (1st ed.). Oxford University Press. https://doi.org/10.1093/oso/9780197570739.001.0001

Gill, R. (Director). (2003). The Creative Classroom with Richard Gill [Video recording]. MLC School.

Gill, R. (2017). Creating Music. Devirra Publications.

Hein, E. (2022). Learning Something Deep: Teaching to Learn and Learning to Teach Hip-Hop in New York City [Ph.D., New York University]. https://www.proquest.com/docview/2674014315/abstract/2AAEC5455AFA49BFPQ/1

Humberstone, J. H. B. (2023). Battle Dances and 808s: Teaching music creation in Australia. In M. Fautley, K. Devenay, J. Grow, & A. Ziegenmeyer (Eds.), The Routledge Companion to Teaching Music Composition in Schools International Perspectives (pp. 9–25). Routledge. https://www.taylorfrancis.com/chapters/edit/10.4324/9781003184317-2/battle-dances-808s-james-henry-byrne-humberstone

Karlsen, S., & Väkevä, L. (2012). Future Prospects for Music Education: Corroborating Informal Learning Pedagogy. Cambridge Scholars Publishing.

Kuhn, W., & Hein, E. (2021). Electronic music school: A contemporary approach to teaching musical creativity. Oxford University Press.

Randles, C. (2023). Music Teacher as Music Producer: How to Turn Your Classroom into a Center for Musical Creativities. Oxford University Press.

Randles, C. (2024). Growing Songwriting: Student Creativities in the Classroom and Beyond. Oxford University Press.

Schafer, R. M. (1965). The composer in the classroom. BMI Canada Limited.

Schafer, R. M. (1967). Ear cleaning: Notes for an experimental music course. BMI Canada.

Souvaliotis, T. (2022). Learning EDM The “Schooling” of Electronic Dance Musicians [Honours thesis, University of Sydney]. https://doi.org/10.13140/RG.2.2.35891.71200

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

LO1. understand the nature of the creative musical process and how that process may be taught
LO2. understand and gain insight into strategies to teach composition by composing yourself
LO3. acquire an analytical perspective of the composition process, compose your own short works and apply this knowledge to the teaching of composition
LO4. obtain skills to instigate creative processes, supervise technical development and assist with the presentation of notated original compositions
LO5. develop assessment strategies appropriate to courses in the secondary music curriculum
LO6. explore different types of composition assessments
LO7. understand issues of assessing composition as part of your music pedagogy.

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Australian Professional Standards for Teachers (Graduate Level – UG and MTeach) -

Competency code	Taught, Practiced or Assessed	Competency standard
1.1.1		(Graduate) Demonstrate knowledge and understanding of physical, social and intellectual development and characteristics of students and how these may affect learning.
1.5.1		(Graduate) Demonstrate knowledge and understanding of strategies for differentiating teaching to meet the specific learning needs of students across the full range of abilities.
2.1.1		(Graduate) Demonstrate knowledge and understanding of the concepts, substance and structure of the content and teaching strategies of the teaching area.
2.2.1		(Graduate) Organise content into an effective learning and teaching sequence.
2.3.1		(Graduate) Use curriculum, assessment and reporting knowledge to design learning sequences and lesson plans.
2.4.1		(Graduate) Demonstrate broad knowledge of, understanding of and respect for Aboriginal and Torres Strait Islander histories, cultures and languages.
2.5.1		(Graduate) Know and understand literacy and numeracy teaching strategies and their application in teaching areas.
3.1.1		(Graduate) Set learning goals that provide achievable challenges for students of varying abilities and characteristics.
3.2.1		(Graduate) Plan lesson sequences using knowledge of student learning, content and effective teaching strategies.
3.3.1		(Graduate) Include a range of teaching strategies.
3.4.1		(Graduate) Demonstrate knowledge of a range of resources, including ICT, that engage students in their learning.
3.5.1		(Graduate) Demonstrate a range of verbal and non-verbal communication strategies to support student engagement.
4.2.1		(Graduate) Demonstrate the capacity to organise classroom activities and provide clear directions.
4.5.1		(Graduate) Demonstrate an understanding of the relevant issues and the strategies available to support the safe, responsible and ethical use of ICT in learning and teaching.
5.1.1		(Graduate) Demonstrate understanding of assessment strategies, including informal and formal, diagnostic, formative and summative approaches to assess student learning.
5.2.1		(Graduate) Demonstrate an understanding of the purpose of providing timely and appropriate feedback to students about their learning.
5.3.1		(Graduate) Demonstrate understanding of assessment moderation and its application to support consistent and comparable judgements of student learning.
6.1.1		(Graduate) Demonstrate an understanding of the role of the Australian Professional Standards for Teachers in identifying professional learning needs.
6.2.1		(Graduate) Understand the relevant and appropriate sources of professional learning for teachers.
6.3.1		(Graduate) Seek and apply constructive feedback from supervisors and teachers to improve teaching practices.
7.4.1		(Graduate) Understand the role of external professionals and community representatives in broadening teachers’ professional knowledge and practice.

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

Feedback for the 2025 version of this course was positive. The updates for 2026 are mostly to do with (1) NESA Initial Teacher Education Core Content integration (2) Graduate Teacher Standards accreditcation and (3) new Stage 6 Syllabi (published 2025, for 2027 onward).

Additional information

Work, health and safety

Please consider wearing ear plugs during workshops.

Disclaimer

Important: the University of Sydney regularly reviews units of study and reserves the right to change the units of study available annually. To stay up to date on available study options, including unit of study details and availability, refer to the relevant handbook.

To help you understand common terms that we use at the University, we offer an online glossary.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Additional information

Additional information

Work, health and safety

Disclaimer

On this page

Useful links

MUED3603: Composition in Music Education

Semester 1, 2026 [Normal day] - Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Use of generative artificial intelligence (AI)

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Additional information

Additional information

Work, health and safety

Disclaimer

On this page

Useful links