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Unit of study_

MUSC2622: Music in the Sixties

Semester 2, 2023 [Normal day] - Camperdown/Darlington, Sydney

The very term 'The Sixties' has lived on in myth as signifying a radical break with the past in the arts, literature and music. While these years saw a great change and social upheaval, this subject will seek link to the music of the era to much longer trajectories of social, political and aesthetic change. We will examine a wide range of music drawn from popular traditions, jazz and the avant garde. No formal music training is necessary.

Unit details and rules

Unit code MUSC2622
Academic unit
Credit points 6
Prohibitions
? 
MUSC2106
Prerequisites
? 
18 credit points of MUSC or MCGY units of study
Corequisites
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Charles Fairchild, charles.fairchild@sydney.edu.au
Type Description Weight Due Length
Assignment The ‘Ideals That Linger’ Critical Essay
Major essay
30% Formal exam period
Due date: 13 Nov 2023 at 23:59

Closing date: 30 Nov 2023
3000 words
Outcomes assessed: LO3
Participation Participation
Contributions to the class
10% Ongoing Weekly
Outcomes assessed: LO1 LO3 LO2
Assignment Narrative Analysis
Short essay
20% Week 04
Due date: 23 Aug 2023 at 23:59

Closing date: 30 Nov 2023
1000 words
Outcomes assessed: LO1
Assignment Musical Analysis
Analytical interpretation
15% Week 07
Due date: 13 Sep 2023 at 23:59

Closing date: 30 Nov 2023
500 words
Outcomes assessed: LO1
Assignment Raising Consciousness, Changing Minds
Essay
25% Week 10
Due date: 12 Oct 2023 at 23:59

Closing date: 30 Nov 2023
1500 words
Outcomes assessed: LO2

Assessment summary

Submission of Work

1. You must complete all of the assessments in order to pass this subject.

2. You must submit all work on this subject’s eLearning site in 'doc' Word format. No other format will be accepted (i.e. no pdf, unix or ‘pages’ files.) Do NOT paste your writing into the submission box on eLearning. I won't mark work submitted that way.

3. You are required to keep a copy of all of your assignments.

4. If you expect a response to an e-mail query, it is in your interests to send it before 2pm on Friday afternoons. I will not reply to your e-mails over the weekend or on public holidays.

Completion of Written Work

1. All of the essays you will complete for this subject are research essays. Therefore, you will need to do research for them. This means you need find and examine sources. You will be marked on the quality of these source as well as your use of them.

2. You must acknowledge all sources used in your writing through precise referencing of anything that you quote, summarise, refer to, mention in passing or draw on to complete your essays and analyses. You need to provide sufficient information to allow the reader to find the passage that you are using including the page number. You will lose marks for inadequate referencing.

2. You must make your own judgments about the number and quality of the sources you use to complete your assessments. The goal of any assessment is to thoroughly examine and analyse some prescribed set of materials. In order to do so you need to have a some idea of what ideas already exist out there in the world about these materials. This applies not only to the materials you have chosen to analyse, but also to the ideas and interpretations you are using to complete the analysis.

3. Read each assessment task you complete carefully. You will lose marks if you have too many easily correctable errors in formatting, spelling and punctuation.

4. You will lose marks for lack of clarity, ineffective structure, poor grammar and confusing syntax.

5. You are expected to spend about six hours each week outside of class time working on your readings and assessments.

6. Plan your arguments by breaking your assignment into sections. Work up your topic sentences that will head up each section and each paragraph. Work out what evidence you need to present to the reader, and in which order. Consider whether the evidence you have presented sufficiently supports your propositions. Consider how to build a mass of evidence to make your argument convincing. You will lose marks for poor essay organisation.

Assessment criteria

Requirements for Written Work.

The most important requirements for the assessment tasks are:

  • You must acknowledge through precise referencing the sources that you quote, summarise, refer to or mention in passing. Providing references serves the pragmatic purpose of allowing a reader to follow up your sources to check them, to contextualise the material, or simply to pursue something that interests them. You need to provide sufficient information to allow the reader to find the passage that you are using-including the page number. You will lose marks for inadequate referencing.
  • Assemble an argument. This means asserting a proposition, providing evidence to support that proposition, and leading the reader through that material in a way that is logical and convincing. You will lose marks if you do not establish a clear argument.
  • Plan your arguments by breaking your assignment into sections. Work up your topic sentences that will head up each section and each paragraph. Work out what evidence you need to present to the reader, and in which order. Consider how best to present that evidence. Consider whether the evidence you have presented sufficiently supports your propositions. Consider how to build a mass of evidence to make your argument convincing. You will lose marks for poor essay organisation.
  • Write clearly. Do not try to write in a manner that you think is ‘academic’. Write simple declarative sentences that express one idea and link your sentences together in a logical way. Use sub-headings where appropriate. Always read your work out loud to check that it makes sense. Remember the reader, and imagine that you are trying to engage with that reader as you write. Your main obligation as a writer is to explain something about which you have developed an understanding to someone who may not share that understanding. Help them to move towards your understanding. You will lose marks for lack of clarity, poor grammar and confusing syntax.
  • Make sure that you re-read your essays and analyses carefully. You will lose marks if you have too many easily correctable errors in formatting, spelling and punctuation.

Assessment Criteria for Written Work.

• High Distinction (85%+): Work of exceptional standard.

Written work demonstrates initiative and ingenuity in research and reading, pointed and critical analysis of material, innovative interpretation of evidence, develops abstract or theoretical arguments on the strength of detailed research and interpretation. Properly documented; writing characterised by creativity, style, and precision.

• Distinction (75-84%): Work of a superior standard.

Written work demonstrates initiative in research and reading, complex understanding and original analysis of subject matter and its context; makes good attempt to ‘get behind’ the evidence and engage with its underlying assumptions, shows critical understanding of the principles and values underlying the unit of study. Properly documented; writing characterised by style, clarity, and some creativity.

• High Credit (70-74%): Highly competent work.

Evidence of extensive reading and initiative in research, sound grasp of subject matter and appreciation of key issues and context. Engages critically and creatively with evidence, and attempts an analytical evaluation of material. Some evidence of ability to think theoretically as well as empirically. Well written and documented.

• Low Credit (65-69%): Competent work.

Written work contains evidence of comprehensive reading, offers synthesis and critical evaluation of material on its own terms, takes a position in relation to various interpretations. In addition, it shows some extra spark of insight or analysis. Demonstrates a coherent and sustainable argument, some evidence of independent thought.

• High Pass (60-64%): Work has considerable merit.

Written work contains evidence of a broad and reasonably accurate command of the subject matter and some sense of its broader significance, offers synthesis and some evaluation of material, demonstrates an effort to go beyond the essential reading, contains clear focus on the principal issues, understanding of relevant arguments and diverse interpretations, and a coherent argument grounded in relevant evidence, though there may be some weaknesses of clarity or structure. Articulate, properly documented.

• Medium Pass (55-59%): Work of a satisfactory standard.

Written work meets basic requirements in terms of reading and research, and demonstrates a reasonable understanding of subject matter. Offers a synthesis of relevant material and shows a genuine effort to avoid paraphrasing, has a logical and comprehensible structure and acceptable documentation, and attempts to present an argument.

• Low Pass (50-54%): Work of an acceptable standard.

Written work contains evidence of minimal reading and some understanding of subject matter, offers descriptive summary of material; makes an attempt to organise material logically and comprehensibly and to provide scholarly documentation. There may be gaps in some areas.

• Fail (50% and Below): Work not of an acceptable standard.

Work may fail for any or all of the following reasons: unacceptable levels of paraphrasing and quotation; irrelevance of content; presentation, grammar or structure so sloppy it cannot be understood; submitted very late without extension.

For more information see guide to grades.

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.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

Written work submitted electronically after 11.59 pm on the due date will be considered to have been submitted late. For every calendar day up to and including ten calendar days after the due date, a penalty of 5% of the maximum awardable marks will be applied to late work. The penalty will be calculated by first marking the work, and then subtracting 5% of the maximum awardable mark for each calendar day after the due date. For work submitted more than ten calendar days after the due date a mark of zero will be awarded. The marker may elect to, but is not required to, provide feedback on such work.

Academic integrity

The Current Student website  provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.  

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

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.

WK Topic Learning activity Learning outcomes
Week 01 The Sixties We Know. Lecture and tutorial (2 hr) LO1
Week 02 The Sixties We Don't Know Lecture and tutorial (2 hr) LO1
Week 03 To Understand the 60s, You Have to Understand The 50s Lecture and tutorial (2 hr) LO1
Week 04 Art That Boldly Goes Where No Art Has Gone Before Lecture and tutorial (2 hr) LO1 LO2
Week 05 Sun Ra, Funkadelic and the Birth of a New Future Lecture and tutorial (2 hr) LO1 LO2
Week 06 Stockhausen as Avant-Gardist Lecture and tutorial (2 hr) LO1 LO2
Week 07 Experimentalism to Repetition: the Emergence of Minimalism Lecture and tutorial (2 hr) LO1 LO2
Week 08 Clocks and Clouds, Fear and Farce: Ligeti in the 60s Lecture and tutorial (2 hr) LO1 LO2
Week 09 Pop Becomes Epic, Ambitious, and Weird Lecture and tutorial (2 hr) LO1 LO2
Week 11 Authentically Anti-Commercial Music Lecture and tutorial (2 hr) LO2 LO3
Week 12 Renew the Music... Lecture and tutorial (2 hr) LO2 LO3
Week 13 ...and Redeem the World Lecture and tutorial (2 hr) LO2 LO3

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 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

Week 2-August 7-The Sixties We Don't Know

1.) Frank, Thomas. (1997) ‘Chapter One: A Cultural Perpetual Motion Machine.’ In Conquest of Cool: Business Culture, Counter Culture, and the Rise of Hip Consumerism. Chicago: University of Chicago Press.
2.) Suri, Jeremy. (2009) ‘The Rise and Fall of an International Counterculture, 1960–1975.’ American Historical Review, 114(1), 45-68. 
3.) ‘The Port Huron Statement.’ (1962) Students For a Democratic Society.


Week 3–August 14: To Understand the 60s, You Have to Understand The 50s.

1.) Turner, Fred. (2013) ‘‘The Coming of the Counterculture.’ In The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties. Chicago: University of Chicago Press.
2.) Warner, Simon. (2013) Excerpts from Text, Drugs, and Rock ‘n’ Roll: The Beats and Rock Culture. London: Bloomsbury. 
3.) Paolini, Laura. ‘John Cage’s Secret.’ https://www.johncage.org/blog/paolini-cage-eds-editlp.pdf


Week 4–August 21: Art That Boldly Goes Where No Art Has Gone Before

1.) Hoek, D.J. (2021) ‘Our Proper Business Now Is Revolution: John Cage and the Beatles,’ Popular Music and Society, 44:1, 14-25. 
2.) Kaprow, Allan. (1997) ‘Just Doing.’ The Drama Review, 41:3, 101-106. 
3.) Pym, William. (2018) ‘Soliloquy of Chaos.’ Southern Cultures, 24:3, 76-82.


Week 5-August 28: Sun Ra, Funkadelic and the New Future

1.) Corbett, John. (2006) Excerpts from Pathways to Unknown Worlds : Sun Ra, El Saturn & Chicago’s Afro-Futurist Underground, 1954-1968. Chicago: White Walls Gallery.
2.) Roelstraete, Dieter. (2014) ‘The Way Ahead: The Association for the Advancement of Creative Musicians and Chicago’s Black Arts Revolution.’ Afterall, 37(1):112-119.
3.) Wright Amy. (2013) ‘Exploring the Funkadelic Aesthetic: Intertextuality and Cosmic Philosophizing in Funkadelic’s Album Covers and Liner Notes.’ American Studies, 52(4):141-169

 

Week 6-Sept. 4: Stockhausen as Avant-Gardist

1.) Adlington, Robert. (2009) “Introduction: Avant-garde Music and the Sixties.” In Sound Commitments: Avant-garde Music and the Sixties, edited by Robert Adlington, 3-14. Oxford: Oxford University Press.
2.). Stockhausen, Karlheinz. (1989) Excerpts from Stockhausen on Music. Maconie, Robin (ed.) London: Marion Boyars. “Points and Groups” (pp. 33-42), “Lyric and Dramatic Form” (53-62).

 

Week 7–Sept. 11: Experimentalism to Repetition: the Emergence of Minimalism

1.) Nyman, Michael. (1999) Excerpts from Experimental Music: Cage and Beyond. Cambridge, Cambridge University Press.
2.) Reich, Steve. (2004) “Music as a Gradual Process.” In Audio Culture: Readings in Modern Music. Ed. Christoph Cox and Daniel Warner. New York and London: Continuum, 304-306. 

 

Week 8–Sept. 18: Clocks and Clouds, Fear and Farce: Ligeti in the 60s

1.) Toop, Richard. (1999) Excerpts from György Ligeti. London: Phaidon.
Film

 

Week 9–October 2: Pop Becomes Epic, Ambitious, and Weird

1.) Brodbeck, David. (2021) ‘”You Don’t Just Stick It Together”: The Beach Boys and the Beatles in the Mid-1960s,’ Rock Music Studies, 8(3):244-263, 
2.) Beard, David. (2016) ‘The Road to Good Vibrations.’ Goldmine, November, pp. 36-40.

 

Week 11–October 16: Authentically Anti-Commercial Music?

1.) Zimmerman, Nadya. (2006) ‘The Grateful Dead’s Performance of an Anti-Commercial Counterculture.’ American Music, 24(2), 194-216. Week 12–October 23: Renew the Music…

 

Week 12–Renew the Music...

1.) Shank, Barry. (2002) ‘“That Wild, Thin Mercury Sound”: Bob Dylan and the Illusion of American Culture.’ boundary 2, 29(1), 97-123.

 

Week 13–October 30: …Redeem the World

1.) Parks, Lisa. (2003) ‘Our World, Satellite Televisuality, and the Fantasy of Global Presence.’ In Planet TV: A Global Television Reader. New York: New York University Press.
 

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. Be able to describe and explain various forms of music composition and performance in relation to the specific historical circumstances more broadly known as 'The 60s.'
  • LO2. Link specific kinds of musical gestures, expressions, and meanings across distinct musical traditions.
  • LO3. Organise and develop methods and theories of musical and historical analysis that can show how the specific time period from about 1958 to 1975 shaped many different traditions of musical practice.

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
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

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

N/A. (This class has been revived after 5 years.)

Disclaimer

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