FACULTY oF COURSE AND SUBJECT GUIDE

FACULTY oF

MUSIC COURSE

AND SUBJECT GUIDE

1991

UNIVERSITY REGULATIONS

University Statutes referred to or quoted in this handbook are the revised set of statutes, which are available in the 1989 University Calendar. Prizes, scholarships, bursaries and other endowments (formerly listed in Chapters 6 and 7 of the replaced Statutes and Regulations) have become Standing Resolutions of Council and may be identified by the Regulation numbers used in 1988.

SUSPENSION OF SUBJECTS

In exceptional circumstances the Council is empowered to suspend subjects and vary the syllabus of a subject. For example, insufficient enrolments may be a ground for suspending an optional subject. Details of any such alteration will be available from the appropriate Faculty Office and will be announced on department notice-boards.

PROPOSED AMALGAMATIONS AND AFFILIATIONS WITH OTHER TERTIARY INSTITUTIONS

The University of Melbourne is conducting negotiations with the Victorian College of the Arts for the amalgamation of the two institutions from dates to be determined, but likely to be in 1991. It is envisaged that the present Faculty of Music will become The University of Melbourne School of Music within a larger Faculty of Music, Visual and Performing Arts.

Students entering award courses at either institution may, subject to the amalgamation arrangements, quality for awards of the University of Melbourne.

THE UNIVERSITY OF MELBOURNE

FACULTY OF MUSIC

COURSE & SUBJECT GUIDE

1991

TABLE OF CONTENTS

Faculty of Music - Administration 4 The Chairs of Music 4 Faculty of Music Membership 4 Academic Staff 5 Instrumental and Singing Teachers 8

Section1: General information 10 Enquiries 10 Student Diary 1 0 Undergraduate Degrees Available 10 Postgraduate Degrees AvailaЫ e 10 Quotas and Applications 10 Principles of Selection 10 Enrolment 1 1 Re-enrolment 1 1 Course Planning and Approval 1 1 The Building 12 Important Dates 12

Section 2: Standing Resolutions of Council for Music Degrees - Undergraduate 13

Standing Resolution 3.56 - Degree of Bachelor of Music 13 Standing Resolution 3.56А - Degree of Bachelor of Music Education 14

Section 3: Course Structure - Bachelor of Music 15 General Information 1 5 Programmes for Specialisation 15

Composition 16 Instrumental and Vocal Teaching 17 Musicology 18 Music Performance 19 Music Therapy 20 Music Education 21

Elective Subjects 22 Honours 23

Section 4: Degree of Bachelor of Music [Pre 1989] 24 Bachelor of Music 24 Bachelor of Music (Music Therapy) 25 Bachelor of Music (Honours) 25 Bachelor of Music Education 27

Section 5: Details of Subjects - Undergraduate degrees- 28 Year 1- Subject information and outlines 28 Year 2 - Subject outlines 34 Years 3 and 4 - Subject outlines 40

Section 6: Study Related Matters 63 6.1 Deferment of Place 63 6.2 Course Changes 63 6.3 Part-time study 63 6.4 External Studies 63 6.5 Leave of Absence 63 6.6 External Musical Studies 63 6.7 Method of Assessment 63 6.8 Study Difficulties 64 6.9 Special consideration 64 6.10 Special Examinations 64 6.11 Supplementary Examinations 64 6.12 Faculty Progress Rules 64

6.12.1 Study Progress 64

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6.12.2. Supplementary Examinations 65 6.12 .3. Leave of Absence 65 6.12.4. Unsatisfactory Progress 65 6.12.5. Course Progress 65

6.13 Rules of Unsatisfactory Progress 65 6.14 Directions to examiners relating to assessment 65 6.15 Discontinuation 65

Section 7: Other Information 66 Single Subjects 66 Orchestral Bursaries 66 Matriculation Roll 66 Summer School in Basic Music Theory 66 Activities 66 Facilities 66

Library 66 Instruments 67 Grainger Museum 67 The Electronic Music Studio 67

Use of Pia ń os in Melba Hall and Heinze Room 67 Practice Rooms 67 Music Students Society 68

Section 8: Exhibitions, Scholarships, Prizes and Financial Assistance 69

Section 9: 800klfsts 72

Section 10: Postgraduate Studies 81 10.1 University General Principles of Selection to Postgraduate Courses 81 10.2 Standing Resolutions of Council for Music Degrees • Postgraduate 84

Standing Resolution 3.122 • Graduate Diploma of Music Therapy 84 Standing Resolution 3.63 • Degree of Master of Music 84 Standing Resolution 3.60 - Degree of Doctor of Philosophy 86 Standing Resolution 3.57 - Degree of Doctor of Music 86

10.3 Course Structure 87 Graduate Diploma of Music Therapy 87 Degree of Master of Music 88 Degree of Doctor of Philosophy 88

Section 11: Music Courses at the Victorian College of the Arts 90

Appendix: Alumni Association 91

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THE FACULTY OF MUSIC - ADMINISTRATION

Dean: Deputy Dean: Assodate Dean: Assistant Registrar (Music): Administrative Officers:

THE CHAIRS OF MUSIC

Assoc. PROF. RONALD FARREN-PRICE DR JOHN GRIFFITHs MR GRAHAM BARTLE MR DAVID BURD MS SYLVIA EDWARDS MRS HILDE SCHMIDT

The Ormond Chair of Music was founded In the University of Melbourne by the generous endowment (£20,000) of Francis Ormond in 1888. In 1894, a Conservatorium of Music was established. A second Chair of Music was founded in 1973, and first filled in August 1975.

THE FACULTY OF MUSIC MEMBERSHIP (Information as at 16.11.90)

The Dean: The Deputy Dean: The Associate Dean (Students): The Viice-Chancellor The Deputy Vice-Chancellors:

А SSOCIАТЕ PROFESSOR R FARREN-PRICE DRJA GRIFFП Hs MR G A R BARTLE PROFESSOR D G PEN INGTON PROFESSORJ R POYNTER

PROFESSORS, READERS, SENIOR LECTURERS AND LECTURERS OF THE FULL-TIME ACADEMIC STAFF

DR JA GRIFFITHS MR CJMARTIN MR D W THORNTON MRS DE ERDONMEZ DR M G W GILLIEs DR B BROADSTOCK MR A SEMETSKY MR J ODONNELL MR G GERHARD

Members of the part-time staff, elected annually.

Mentors of the full-time tutorial staff elected annually. MR G. DIKMANS MR K. PURCELL

Nominated annually by the Faculty of Education Mr W G S sill

Four Student members, appointed annually

Nominated annually by the Committee of Convocation MISS G NORTHEY

Member appointed by the Academic Board PROFESSOR L K STEVENS

Members appointed by Council MR N BOURKE DR E L SURGE DR K DREYFUS

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MR E JENSEN DR E G MUIRHEAD DR J L PRESSING MR W D RICHARDSON MR GTIBBITS MR M S WILLIAMS PROFESSOR I P WILLIAMSON MR B WORLAND

ACADEMIC STAFF (information as at 16.11.90)

Chairman it Department and Reader: RONALD FARREN-PRICE, Dip Mus.

Ormond Professor: vacant

Professor: vacant

Senior Lecturers: GRAHAM ALFRED REGINALD BARTLE, BA MMus DipEd FTCL MIMI DENISE ELIZABETH ERDONMEZ, BMus Melb & Mich MMus LMusA RMT CMT MALCOLM GEORGE WILLIAM GILLIES, BA ANU MA Cant MMus PhD Lind

Dip.Ed LMusA LTCL FLCM MACE JOHN ANTHONY GRIFFITHS, BA PhD Monash CHRISTOPHER JOHN MARTIN DONALD WILLIAM THORNTON, BMus Lend. BSc W Aust MMus JOHN O'DONNELL, В Mus Durham ADCM FRCO Chm LTCL DSCM L'usA

Lecturers: ALEXANDER S ЕМЕТ SKY, Diplbme Moscow Con. ØRENTON BROADSTOCK, BA Monash M Mus Memphis D Mus Dip Mus Syd AMusTCL GRAEME GERRARD, MA La T KERRY MURPHY, MA PhD THOMAS REINER, MMus

Research Fellow: KERRY MURPHY, MA PhD

Senior Associate: MAXWELL J L COOKS, M Mus DipMus Perfectionnement 62mе degré Ecole Normale de Musique, FACE MIMT

Tutors: GREG DIKMANS BMus Syd DipBaroqueFlute Brussels (Recorder) KEVIN PURCELL BMus

P ап -umе Staff: ELIZABETH ANDERSON (Harpsichord) MARY ANDERSON (Harp) FREDA ASH (Music Education) DAVID ASHTON-SMITH (Singing) ROBERT В ILSВ OROUGH BMus BEd Monash Dalcrozer Licentiate (Music Education) PAMELA BLOOM (Clarinet) RHONDA BRUCE (Singing) KEVIN CASEY DipMus (Singing) ALISON CATANACH (Flute) ROBERT CHAMBERLAIN hus (Piano) MAY CLIFFORD IAM BMus Dip Ed LRSM (Piano) PETER CLINCH PhD Monash MMus LMus A (Saxophone and Clarinet)

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MAX 000К E (Piап o) NELSON COOKS (Violoncello) DARRYL COOTE MMus AMusA MPiT (Piano) WENDY COUCH (Percussion) GEOFFREY COX BA Old BMus Old D Phil Oxon FTCL ARCO (Organ) JEFFREY CRELLIN (Oboe) ROGER DAVIES (Тгот boпе ) PRUDENCE DAVIS (Flute) JENNIFER DRUERY BMus Syd (Double Bass) КАУЕ DUFFELL (Flute) PETER EDGE (Flute) SUSAN ELLIS (Guitar) GRAEME EVANS (French Horn) HAROLD EVANS (Bassoon) DAVID FARRANDS (Trumpet) MANUEL GELMAN MA BEd (Music Education) ELIZABETH GLAB (Piano) BMus DipEd MMus Warsaw PHILLIP GREEN BMus (Violoncello) ALEX GRIEVE (French Horn) JUDITH GRIEVE (Oboe) NATHAN GUTMAN DipMus MusBac MLaw Warsaw (Violin) ANDRE Н ADGES (Violin) ALAN HARDY (Flute) IAN HARRISON DipMus ARC' Lind AdvDipMEd Kodaly Inst (Music Education) ROGER HEAGNEY MMus (Harpsichord) ANTHONY HICKS BEd (Saxophone) DAVIN HOLT (Double Bass) IAN HoLTHAM, PhD (Piano) MARIANNE HUNT BMus (Violoncello) HUW JONES (Harp) MACK JOSТ AM BMus Dipilus LRAM (Piano) IAN KING (Tuba) DOUGLAS LAWRENCE MMus (Organ) BRIAN LONG (Music Education) PETER LYNCH DCSM LTCM LMusA (Guitar) BETTINE MС CAUGHAN (Singing) KENNETH McCLIMONT (Trombone) JOHN М ALLINSON BMus ARC' LRAM ARCO (Organ) JEANNIE MARSH Dip Op & Mus BMus Ed Theatre (Singing) CHRISTOFF MAUBACH BMus Dance Ed (Music Education) HANS-DIETER MICHATZ (Baroque Flute) PHILLIP MIECHEL MMus (Clarinet) ANDREW MITCHELL (Clarinet) IAN MORGAN MMus (Clarinet) MIRIAM MORRIS (Viol da GaØ) WENDY MORRISON MMus RCM LMusA ARC' (Piano) BRENTON MOUY BEd (Percussion) HARTLEY NEWNHAM (singing) THOMAS NICOLL (French Horn) JUNE NIXON BMus DipMus FRCO (CHI) ARC' (Organ) LINDSAY O'NEILL BMus Adel FRCO (CH M) ARCM (Organ) MICHELLE PICKER ARC' (Double Bass) CARL PINI (Violin) THOMAS PINSCHOF (Flute) CAVELL POLI (Singing) SPIROS RА Nто s (Violin) GLEN RIDDLE Mlus (Piano) STEPHEN ROBINSON (Oboe) MERYL ROSS Blus (Piano) JUANITA SAN MARTIN (Music Education)

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PAUL SARCICH (Percussion) ROBERT SEDERGREEN ()azz) FREDERICK SHADE BA AMusA (Flute) HELEN SHO ЕМА RK BMus (Music Therapy) ROBERT SIMS BMusEd BMus (Trumpet) ROBERT SMITHIES (Trumpet) GREG STEBBlNG (Music Education) LORIS SYNAN Diplus (Singing) NORMAN WEINER (Ot oe) HENRY WENIG (Violoncello) RUTH WILKINSON BMus Old (Recorder) PAUL WILLIAMS (Bassoon)

ADMINISTRATIVE STAFF

Assistant Registrar (Music) DAVID MARSH BURD

Administrative Officers SYLVIA EDWARDS, BEd HILDE SCHMIDT, BA

Secretaries NORIA BERGOE (Dean's Secretary) MAFALDA BOJANIC, BMus (Concert Oflice)

Clerk CATHERINE MORGAN (General Office)

Technical Officers LESLIE CRAYTHORN, CertTech Dip IndEtec RMIT GradDipм us(Tonmeister) Surrey PETER LIDDELOW, Ceг tTech RMIT

Building Supervisor BREIT LORD

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INSTRUMENTAL AND SINGING TEACHERS

Piano: ROBERT CHAMBERLAIN MAY CLIFFORD MAX COOKS DARRYL COITE RONALD FARREN-PRICE ELIZABETH GLAS IAN HOLTHAM MACKJOST WENDY MORRISON MERYL ROSS ALEXANDER SEMETSKУ DONALD THORNTON

Organ: GEOFFREY cox DOUGLAS LAWRENCE JOHN MALLINSON JUNE NIXON JOHN O'DONNELL LINDSAY O'NEILL

Harpsichord: ELIZABETH ANDERSON ROGER HEAGNEY JOHN O'DONNELL

Violin: NATHAN GUTMAN ANDRE HADGES CHRISTOPHER MARTIN SPIROS RANТ oS

Viola: CHRISTOPHER MARTIN

Vola da Gamba: MIRIAM MORRIS RUTH WILKINSON

Violoncello: NELSON COOKS PHILLIP GREEN MARIANNE HUNT HENRY WENIG

Double Bass: JENNIFER DRUERY DAVIN HOLT MICHELLE PICKER

Harp: MARY ANDERSON HUW JONES

Guitar. SUSAN ELLIS JOHN GRIFНТН S PETER LYNCH

Trombone: ROBERT DAVIES KENNETH McCUMONT

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Percussion: WENDY COUCH BRENTON MOUY PAUL SARCICH

Lute: JOHN GRIFFmHS

Flute: ALISON CATANAС H PRUDENCE DAVIS KAYE DUFFELL PETER EDGE ALAN HARDY THOMAS PINSCHOF FREDERICK SHADE

Recorder/Baroque Flute: GREG DIKMANS HANS-DIETER MICHATZ RUTH WILKINSON

Oboe: JEFFREY CRELLIN JUDITH GRIEVE STEPHEN ROBINSON NORMAN WEINER

Clarinet: PAMELA BLOOM PHILLIP MIECHEL ANDREW MITCHELL IAN MORGAN

Saxophone: ANTHONY HICKS

Bassoon: HAROLD EVANS PAUL WILLIAMS

French Horn: GRAEME EVANS ALEX GRIEVE THOMAS NICOLL

Trumpet: DAVID FARRANDS ROBERT SIMS ROBERT SMITHIES REG WALSH

Tuba: IAN KING

Singing: DAVID ASHTON-SMITH RHONDA BRUCE KEVIN CASEY BETTINE McCAUGHAN JEANNIE MARSH HARTLEY NEWNHAM CAVELL POLI LORIS SYNAN

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SECTION 1: GENERAL INFORMATION

ENQUIRIES

Any written enquiries relating to courses should be addressed to the Associate Dean (Students), Mr Graham Bartle , Faculty of Music. University of Melbourne, Parkville, Victoria, 3052.

Personal enquiries at the University relating to undergraduate courses should be directed to either Mr Graham Bartle or Ms Sylvia Edwards. Enquiries relating to postgraduate courses should be directed to either Dr John Griffiths or Mrs Hilde Schmidt.

Telephone enquiries can be made to:

Music Faculty Office 344 5256

Music Branch Library 344 5262

STUDENT DIARY

Students are reminded that information on matters of general concern, e.g. Amenities and Services Fee, Enrolment, Assessment, Special Consideration, Student Membership Cards, Colleges and Halls of Residence. Careers and Appointments Service, University Facilities, Financial Assistance, etc.. is to be found in the Student Diary.

UNDERGRADUATE DEGREES AVAILABLE

Bachelor of Music (Pass or Honours)

Prior to 1989: Bachelor of Music (Pass or Honours) and Bachelor of Music Education

The Standing Resolutions covering these degrees are to be found in Section 2.

POSTGRADUATE DEGREES AVAILABLE

Graduate Diploma In Music Therapy Master of Music Doctor of Philosophy Doctor of Music

The Standing Resolutions covering these degrees are to be found in Section 10. See also University General Principles of Selection for Entry to Postgraduate Courses in Section 10,

QUOTAS AND APPLICATIONS

There is a quota of 77 for entry to the first year of the course. Competition for places is intense and a high academic standard is required of successful applicants. Application is made direct to the Victorian Tertiary Admissions Centre, 40 Park Street, South Melbourne, 3205. The VTAC publishes its VTAC Guide to Courses in Colleges and Universities which contains application details and is available on request from that office in September of each year.

PRINCIPLES OF SELECTION

Applicants are advised to consider the General Principles of Selection and the Special Principles of Selection which are appropriate to the level at which they may be seeking entry to courses. Principles of Selection, which concern students wishing to undertake Music courses, cover the following areas:

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University General Principles of Selection for Entry to First Year Undergraduate Courses.

Special Principles of Selection for Entry to First Year Undergraduate Courses in the Faculty of Music.'

University General Principles of Selection for Entry to Second and Later Years of Undergraduate Courses.'

Special Principles of Selection for Entry to Second and Later Years of Undergraduate Courses in the Faculty of Music.'

University General Principles of Selection for Entry to Postgraduate Courses (Section 8, Appendix 1).

For the University's Policy regarding Applicants for University Entrance who hold Tertiary Orientation Programme qualifications, see the University Prospectus.

Potential applicants, after reading the relevant sets of principles, should seek further information from the Faculty or the Office tor Prospective and New Students if they need assistance in interpreting these principles in the light of their own circumstances and background.

Applicants who have attempted or completed tertiary studies will be considered for entry at the highest level for which they are assessed to be eligible, if they are not assessed as eligible for the level sought. Course application forms make provision for these arrangements and applicants who are unsure of their eligibility for a particular year or level of entry are encouraged to seek advice.

The number of places available in each course is limited and there may be quotas in specific years of a course and, in some cases, subjects or units.

ENROLMENT

After students have been notified of their selection, they will be required to attend at the Faculty office to accept the offer of a place and to obtain an authority to enrol. Students must then attend at the Student Administration Office to complete enrolment formalities. Information on enrolment procedures will be supplied by the Student Administration Office at the place of enrolment.

Any student who does not wish to proceed with his or her course must report to the Faculty Office and also notify the Student Administration Office in writing immediately.

RE-ENROLMENT

Students intending to continue their studies in a degree course will be required to attend at the Faculty during December or January in order to have their course for the following year approved and to obtain an authority to re-enrol. Students must then complete enrolment formalities at the Student Administration Office.

COURSE PLANNING AND APPROVAL

For detailed information regarding course structure and planning consult Sections 3 and 4 of this guide.

After selection, all new students will be interviewed and auditioned. At this time they will be allocated to a practical teacher. Students seeking information on subjects available in other faculties are advised to study the relevant Faculty Course and Subject Guide.

Now published in the University Prospectus, availaЫ e from the Office for Prospective and New Students.

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Once a student's course has been authorized, no changes are permitted without approval. Students wishing to change courses must first call at the Faculty Office to obtain the necessary approval and amendment of autho ń sation.

THE BUILDING

The Faculty building consists of 27 teaching rooms, a seminar room, a concert hall (Melba Hall), a small lecture hall, the Heinze Room, an electronic music studio, administrative offices, staff and students' room. The music branch library is located on the 3rd floor of the Baillieu Library. A practice block is located in the basement of the Zoology building.The Grainger Museum is adjacent to the Faculty. Some of the large lectures are held in Theatre A, Old Arts Building.

IMPORTANT DATES

Students should consult the student diary and 'Introduction to the University' for details relating to semester and examination dates.

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SECTION 2: STANDING RESOLUTIONS OF COUNCIL FOR MUSIC DEGREES - UNDERGRADUATE

STANDING RESOLUTION 3.56 - DEGREE OF BACHELOR OF Music

Pre-1989 Degree Course 1. The degree of Bacheor of Music may be conferred either as an ordinary degree

or as a degree with honours.

2. Candidates for the degree shall, subsequently to their matriculation, pursue their studies for four years, attend such lectures and classes, perform such practical work and pass such examinations as may be prescribed.

3(1) A candidate shall, at the beginning of the First Year, secure the approval of the Faculty of Music for the proposed choice of subjects and pans of subjects and the order of the candidate's course. Any subsequent alteration in the course of study must be approved by the Faculty.

3(2) A candidate shall, at the beginning of each year of study thereafter. secure approval from the faculty for the subjects and parts of subjects selected for study by the candidate in that year.

4. The subjects and parts of subjects of the course for the ordinary degree and for the course for the degree with honours and the conditions on which such subjects or parts of subjects may be taken shall be as prescribed trom time lo time by the Academic Board on the recommendation of the Faculty and published with the details of subjects.

5. When in any year a candidate passes in only some of the subjects of the year, he or she shall be entitled to credit for such subjects. A candidate may, in any subsequent year, present for the subjects not passed either by themselves or together with such subjects of the next year of the course as the Faculty may approve.

6. In lieu of passing in a subject as prescribed for the ordinary degree, the candidate may enrol and enter for and be classed at the examination in that subject in the course for the degree with honours but shall not be included in the final honours class list. A candidate who has so enroled and entered for examination may compete for the exhibition in a subject in accordance with the conditions prescribed.

7. A candidate may be admitted to the ordinary degree who has (a) passed at the examinations in the subjects of each year of the course in the manner prescribed: and (b) complied in all other respects with this regulation.

8(1) A candidate for the degree of Bachelor of Music with Honours shall (a) complete the work and pass the examinations of the four Years of the course at a standard and in the manner prescribed by the Faculty; and (b) complete to the satisfaction of the Faculty such additional studies as the Academic Board, on the recommendation of the Faculty, shall prescnbe and publish with the details of subjects.

8(2) A candidate who has fulfilled the requirements of subsection (1) hereof may be admitted to the degree of Bachelor of Music with Honours.

9. When a candidate has completed any portion of either a course for the ordinary degree or a course for the degree with honours and wishes to transfer to either course or to the course for the degree to Bachelor of Music Education, the

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Faculty may determine to what status the candidate will be admitted in the course to which he or she wishes to transfer.

10. For physical incapacity or disability or for other good cause shown the Faculty may allow a candidate to omit any subject from either of the courses herein prescribed and may prescribe, in substitution for the subject so omitted, such subject or subjects as the Faculty may consider appropriate.

STANDING RESOLUTION 3.56A - DEGREE OF BACHELOR OF MUSIC EDUCATION

Pre-1989 Degree Course 1. Candidates for the degree o1 Bachelor of Music Education shall subsequently to

their matriculation pursue their studies for four years, attend such lectures and classes and perform such practical work as may be prescribed by the Faculty of Music after consultation where relevant with the Faculty of Education, pass the prescribed examinations and otherwise comply with the conditions of this standing resolution.

2. When in any Year a candidate passes in some only of the subjects of the Year he or she shall be entitled to credit for such subjects. The subjects not passed may be presented in any subsequent year either by themselves or along with such subjects of the next year of the course as the Faculty may permit.

3. The subjects of the pass and honour examinations of the various years of the course shall be as prescribed from time to time by the Academic Board on the recommendation of the Faculty and published with the details of subjects.

4(1) The provisions of sections 9 and 10 of Standing Resolution 3.56 shall apply, the necessary changes being made to candidates for the degree of Bachelor of Music Education.

4(2) A candidate who has completed any portion of the course for the degree of Bachelor of Music or the degree of Bachelor of Music with Honours may be admitted to the course for the degree ot Bachelor of Music Education with such status as the Faculty may determine.

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SECTION 3: COURSE STRUCTURE BACHELOR OF MUSIC DEGREE

GENERAL INFORMATION

In 1989 the Faculty of Music introduced a single Bachelor of Music four-year degree, enaЫ ing students to specialise in any one of six areas: composition, music education. music therapy, musicology, music performance, instrumental or vocal teaching. The degree will be awarded at either pass or honours level, according to the quality of the results obtained by the students. The existing Bachelor of Music and Bachelor of Music Education degrees are being phased out, and no new students will be admitted to the first three years of these degrees.

For students specialising in music education afd music therapy the course contains all the requirements for registration in their respective fields.

Credit Points are allotted to each subject on the basis of its relative weighting, determined by

the importance of the subject in the overall course • the number of contact hours, and • the amount of work expected of students to complete it.

Completion of each Year of the course is dependent on achieving a total of 100 Credit Points for subjects of that Year.

YEAR 1 is planned as a common programme for alt students:

740-108 740-118/119 740-128/129 740-136 740-109

740-125/126/127

Aural Training 1 10 Music History 1-1,1-2 20 (10+10) Music Techniques 1-1,1-2 20 (10+10) Practical Study 1 20 Ensemble 1 10 Subject in another Faculty (to be Psychology 1 for music therapists) 20 ar (10+10) Modem Languages (vocal students only)

YEAR 2 has a common core of compulsory subjects as well as compulsory subjects leading toward the chosen specialisation of the following years. The common core for all second year students will be:

740-208 740-250/251 Г 252/253 740-228/229 740-209

Aural Training 2

Music History 2A, 28, 2C, 20 (any two) Music Techniques 2-1,2-2 Ensemble 2

1 0

20 (10+10) 20 (10+10) 1 0

YEARS З AND 4 comprises of compulsory subjects for each area of specialisation, to which are added a number of subjects chosen by students according to their interests. Students must accumulate a total of 100 credit points per year.

PROGRAMMES FOR SPECIALISATION

The Programmes for the six areas of Specialisation are set out in the following pages. (Note - As year 1 is common to all students, only years 2 onwards are shown)

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PROGRAMME FIR SPECIALISATION IN COMPOSITION Enquiries relating to this programme should be directed to Dr Brenton Broadstock.

AIMS AND OBJECTIVES Students undertaking this specialisation can expect to acquire experience and skills sufficient to develop a career as a composer. This is achieved through exposure to the breadth of music composed in the twentieth century and its fundamental principles and techniques. Students are expected to compose their own works for various traditional and electronic media. Through the personalised guidance received in composition tuition, each student's individual artistic capacity can be nurtured and developed.

YEAR 2: 740-208 740-250/51 /52153 740-228/229 740-227 740-209

Aural Training 2 Music History 2A/2В /2C/2D (any two) Music Techniques 2-1, 2-2 Composition 1+ Ensemble 2 Any one of: • Subject in another Faculty' • Practical Study 2 AND Art of Teaching • Philosophy of Education M • AND Techniques in Musicianship

Points 10 20 (10+10) 20 (10+10) 20

10

20 or (10+10) (10+10)

110+101 Ø

YEAR 3: Subjects to be completed for composition specialisation: 740-327 Composition 2 740-309 Ensemble 3

And any other subjects totalling:

YEAR 4: 740-427

Composition 3 740-409

Ensemble 4


Recommended elective subjects: Acoustics Introduction to Music Analysis Music in Australia New Music ensemble Twentieth Century Music Techniques

40 14 50 50 points

Points 40 14 50 50 points

10 10 10 10 10

+ Students wishing to enrol in Composition in second year should attend the Creative Studies seminar in semester 1 of year 1. Admission to Composition 1 will normally be based on participation in this seminar.

A subject or subjects over two semesters.

YEAR 3: 740-336 740-1251126/127 740-309

Practical Study 3 Modem Languages (vocal students only) Ensemble 3

40

]S2 50 50 points And any other subjects totalling:

YEAR 4: 740-436 740-125/126/127 740-409

Practical Study 4 Modem Languages (vocal students only) Ensemble 4

Points 40

IQ 50 50 points And any other subjects totalling:

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PROGRAMME FOR SPECIALISATION IN INSTRUMENTAL OR VOCAL TEACHING Enquiries relating to this programme should be directed to Mr Donald Thornton.

AIMS AND OBJECTIVES Students completing this specialisation can expect to have received the preparation necessary to becoming a proficient and effective teacher of vocal and/or instrumental skills. Students are guided to develop assured technique and style in performance; strengthen their background in music history, literature and theory; develop ensemble skills; become acquainted with accepted teaching methods and original approaches to teaching music; and foster an interests in research into various aspects of studio teaching.

YEAR 2: 740-208 740-250/51 /52/53 740-228/229 740-236 740-205 740-125/126/127 740-209

Aural Training 2 Music History 2A/2Ø/2C/2D (any two) Music Techniques 2-1, 2-2 Practical Study 2 Art of Teaching Modern Languages (vocal students only) Ensemble 2 Any one of : . Subject in another Faculty . Composition 1+ . Philosophy of Education M

AND Techniques in Musicianship.

Points 10 20 (10+10) 20 (10+10) 10 10

10

20 or (10+10) 20 10

14 100

Recommended elective subjects: Chamber Music Repertory and Style 10 Keyboard Skills 1 10 Keyboard Skills 2 10 Physiology for Musicians 10 Systems of Music Education 30

A subject or subjects over two semesters.

+ Students wishing to enrol in Composition in second year should attend the Creative Studies seminar in semester 1 of Year 1. Admission to composition 1 will normally be based on participation in this seminar.

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PROGRAMME FOR SPECIALISATION IN MUSICOLOGY Enquiries relating to this programme should be directed to Dr John Griffiths.

AIMS AND OBJECTIVES This specialisation develops students' understanding and knowledge of music, musical scholarship and research methods to prepare them as professional musicologists. Students complete advanced studies in music history, theory, research methodology, and systematic disciplines such as analysis, aesthetics, historiography and paleography. A dissertation presenting the results of a substantial research project is the culminating point of the course

Aural Training 2 Music History 2A/28/2C/2D (any two) Music Techniques 2-1, 2-2 Practical Study 2 Art of Teaching

Modem Languages (vocal students only) Ensemble 2 Any one of: . Subject in another Faculty • . Composition 1* . Philosophy of Education M AND Techniques in Musicianship

Points 10 20 (10+10) 20 (10+10) 10 10

10

20 or (10+10) 20 10

].S) 100

YEAR 2: 740-208 740-250/1/2/3 740-228/229 740-236 740-205

740-125/126/127 740-209

YEAR 3: 740-350

Music Historiography

10 740-359

Musicological Research Method

20 740-344

Introduction to Music Analysis

10 740-309

Ensemble 3

14 50


50 points

YEAR 4: 740-454

Musicological History and Theory

10 740-462

Dissertation

30 740-409

Ensemble 4

11 50


50 points

Recommended elective subjects: Music Aesthetics

10 Music Criticism

10 Music Palaeography

10 Schenkerian Analysis

10

A subject or subjects over Iwo semesters. +

Students wishing to enrol in Composition in second year should attend the Creative Studies seminar in semester 1 of year 1. Admission to Composition 1 will normally be based on participation in this seminar

YEAR 4: 740-406 740-125/126/127 740-403

Music Performance 4 Modern Languages(Vocal students only) Ensemble 4

Points 40

1Sî 50 50 points And any other subjects totalling:

19

PROGRAMME FOR SPECIALISATION IN MUSIC PERFORMANCE Enquiries relating to this programme should be directed to Assoc Prof Ronald Farren-Price.

AIMS AND OBJECTIVES Students with strong, demonstrated musical aptitude enter this specialisation for preparation as professional performing musicians. Students aim to acquire an assured performance technique and an historical awareness and understanding of performance style. In addition to the development of their artistic capacities, students attain grounding in problems related to concert performance such as presentation and the management of stress and nervous anxiety.

YEAR 2: 740-208 740-250/51/52153 740-228/229 740-236 740-205 740-125/126/127 740-209

Points Aural Training 2 10 Music History 2N 2 в / 2C/ 2D (any two) 20 (10+10) Music Techniques 2-1, 2-2 20 (10+10) Practical Study 2 10 Art of Teaching 10 Modem Languages (vocal students only) — Ensembl e 2 10 Any one of: . Subject in another Faculty 20 or (10+10) . Composition 1+ 20

Philosophy of Education M AND Techniques in Musicianship

10 l2

100

YEAR 3 : 740-306 740-125/126/127 740-357 740-309

And any other subjects

Music Performance 3 Modern Languages (vocal students only) Chamber Music Repertory and Style Ensemble 3

totalling:

40

10 14 60 40 points

A subject or subjects over two semesters. +

Students wishing to enrol in Composition in second year should attend the Creative Studies seminar in semester 1 of year 1. Admission to Composition 1 will normally be based on participation in this seminar.

20

PROGRAMME FOR SPECIALISATION IN MUSIC THERAPY Enquiries relating to this programme should be directed to Mrs Denise Erdonmez.

AIMS AND OBJECTIVES In this specialisation, students develop performance skills and musicianship sufficient to enable direct creative music activities with individual clients and groups. It builds students' awareness of music styles and idioms, improves their skills in improvisation and develops their knowledge of psychological theories and clinical conditions, and the application of music as a treatment in special education settings and are encouraged to undertake research into all aspects of music therapy.

Points Aural Training 2 10 Music History 2A/2Ø/2C/2D (any two) 20 (10+10) Music Techniques 2-1, 2-2 20 (10+10) Practical Study 2 10 Ail of Teaching 10 Psychology 2M 10 Techniques in Musicianship 10 Ensemble 2 lQ

100

YEAR 2: 740-208 740-250/51 /52/53 740.2281229 740-236 740-205 171-211 740-240 740-209

YEAR 3: 196-130 740-356

Human Development for Social Work Practice Physiology for Musicians

740-358 Systems of Music Education 740-364 Applications of Music in Therapy 740-309 Ensemble 3

And any other subject worth:

10 10 30 30 ].Ś i 90 10 points

YEAR 4: 740-458

Advanced Techniques in Musicianship

30 740-460

Influence of Music on Behaviour

30 740-459

Clinical Practice in Music Therapy 100

Educational Psychology M Systems of Music Education Ensemble 3


20 30 ]S2 60 40 points

YEAR 3: 471-350 740-358 740-309

10 10 10 10 10

21

PROGRAMME FOR SPECIALISATION IN MUSIC EDUCATION Enquiries relating to this programme should be directed to Mr Graham Bartle.

AIMS AND OBJECTIVES This stream helps students develop an assured pe Ао rm апс e technique, strengthens the students background in music history, literature and theory and fosters a sense of style. It provides observational and practical experience in widely-used approaches to music education, allows students to undertake supervised music teaching practice in schools and encourages research in va ń ous aspects of music education.

YEAR 2: 740-208 740-250/51 /52/53 740-228/229 740-236 740-205 471-250 740-240 740-125/126/127 740-209

Aural Training 2 Music History 2N 28/ 2C/ 2D (any two) Music Techniques 2-1, 2-2 Practical Study 2 Art of Teaching Philosophy of Education M Techniques in Musicianship Modem Languages (vocal students only) Ensemble 2

10 20 (10+10) 20 (10+10) 10 10 10 10

12 100

YEAR 4: 471-451

Curriculum Studies+

30 471-452

School of Practice

30 471-450

Sociology of Education M

2Q 80


20 points

Recommended elective subjects: Acoustics Introduction to Electronic Music Keyboard Skills 1 Keyboard Skills 2 Orchestration and Arrangement

A subject or subjects over two semesters. + Curriculum Studies and School Practice must be taken in the final year of the course.

22

ELECTIVE SUBJECTS

Students should note the following when considering their choice of subjects required to complete the total of 100 credit points per year;

1. Some subjects have a pre-requisite requirement;

2. For some specialisations, certain subjects are recommended ( consult programmes listed above);

3. Subjects may be selected from the required subjects for other specialisations;

4. In addition to completing the specialisation requirements in one area students may. through their choice of subjects in years 3 and 4, complete a specialisation in a second area.;

5. Certain subjects will only be offered in alternate years.

The full list of subjects available to students to complete their tally of credit points is as follows. The list includes subjects which may be compulsory for some specialisations and available as an elective option to students from other specialisation areas. Students should closely study programme outlines for a clear understanding of compulsory subjects for each chosen area of specialisation. Subjects marked ' in the following list will be offered in 1991. Except where specified, each is worth ten credit points.

• Acoustics • Chamber Music Repertory and Style • Educational Psychology M (20 points) • The Influence of Music on Behaviour (30 points) • Introduction to Electronic Music • Introduction to Music Analysis ▪ Keyboard Skills 1

Keyboard Skills 2 Music Aesthetics Music and Technology

• Music C8 - Perorating Arts in Asia • Music Criticism • Music Historiography • Music History 2A (Keyboard Music) if not taken in year 2 • Music lstory 2В (Chamber Music) if not taken in year 2 • Music History 2C (Symphonic Music) if not taken in year 2 • Music History 20 (Opera) if not taken in year 2 • Music in Australia • Music in the Middle Ages • The Music of Spain

Musicological History and Theory • Musicological Research Method (20 points) ▪ Music Paleography • Music since 1960

Orchestration and Arrangement • Performance Practice and Organology • Philosophy of Education M • Physiology for Musicians • Practical Study 3 (40 points) • Renaissance Instrumental Music • Renaissance Music • Schenkerian Analysis • The Second Viennese School • Sociology of Education M (20 points) ' Style Analysis - Romantic Piano Literature • Systems of Music Education (30 points) • The 1890s • Twentieth Century Music Techniques

23

BACHELOR OF MUSIC DEGREE (HONOURS)

The Bachelor of Music degree with Honours will be awarded by the Faculty on the recommendation of the Consultative Board of Examiners and will be based on the results of years 3 and 4 only. In these two years, an average of the results of all subjects for which marks are awarded will be taken, and the Board of Examiners will further take account of the students' achievements in the core subjects of their specialisation or specialisations to determine the level of honours to be gained. These will be 11(80±), 12А (75-79), 1213 (70-74) and 13 (65-69).

EETHER 740-411

OR 740-416 OR 740-414

740-412

740-415

24

SECTION 4 - DEGREE OF BACHELOR OF MUSIC [PRE 1989]

BACHELOR OF MUSIC Na new students will be admitted to this course in 1991.

First Year (no longer available) 740-102 Aural Training 1 740-111 Music History 1A 740-113 Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1 Modem Languages (Vocal Students) A subject in another Faculty

Second Year (no longer available) 740-112 Acoustics 740-202 Aural Trairong 2 740-211 Music History 2A/2812C/2D (any two) 740-213 Music Language Studies 2 740-214 Composition - Small Ensembles 740-215 Ensemble 2 740-216 Music Performance 2

Modern Languages (Vocal Students)

Third Year

(no longer avaIlable) 740-311

Music History 3A 740-313

Music Language Studies 3 EITHER 740-316

Music Performance 3 OR 740-314

Composition - 740-315

Ensemble 3 Modem Languages(Vocal Students)

Fourth Year (Note substitute subjects for 1991 in brackets)

Music History 4A (740-452 Music in the Middle Ages, AND 740-425 Renaissance Music) Music Performance 4 Composition-Instrumental and Vocal(740- 427 Composlti о n3) Electives (2 of the new electives - consult elective list, Section 3, for details) Ensemble 4 (740-409 Ensemble 4) Modern Languages (Vocal Students)

All students should note the tollowing: Subjects of the BMus. course which are offered at Honours level are listed under the B.Mus.(Honuuzs degree). Students enroled for the pass degree may, with approval. enrol in individual subjects at Honours levet. Admission will normally be based on the gaining of an A result in the relevant subject of the preceding year.

Vocal students should note the following: For students whose practical study is singing, the following changes to the course outline above apply:

Vocal students are required to enrol in Modem Languages in addition to the subjects (sted. For Modem Languages subject details and code numbers, consult Section 5 of this guide. - For their Ensemble, the Faculty will normally direct vocal students to take group piano or keyboard accompaniment.

25

BACHELOR OF Music (MUSic THERAPY)

Students taking the Bachelor of Music course with a view to training as music therapists should enrol in the subjects set out below:

First Year 740-102 740-111 740-113 740-115 740-116 171-100

(no longer availabi e) Aural Trairng 1 Music History 1A Music Language Studies 1 Ensemble 1 Music Performance 1 Psychology 1

Second Year (no longer available) 740-202 Aural Training 2 740-211 Music History 2A 740-213 Music Language Studies 2 740-215 Ensemble 2 740-216 Music Performance 2 740-226 Group Music Performance 1 171-211 Psychology 2M

Third Year (no longer available) 740-311 Music History 3A 740-313 Music Language Studies 3 740-315 Ensemble 3 740-316 Music Performance 3 740-326 Group Music Performance 2 740-332 Introduction to Music Therapy 196-005 Human Growth and Development

Fourth Year (note substitute subjects lor 1991 in brackets) EITHER 740-401 Music History 48 (EITHER 740-452 Music in the

Middle Ages OR 740-425 Renaissance Music) OR 740-416 Music Performance 4

740-112 Acoustics(740-460 Influence of Music on Behaviour)

740-415 Ensemble 4 (740-409 Ensemble 4) 740-432 Clinical Practice in Music Therapy (740-459 Clinical

Practice in Music Therapy) 740-433 Curriculum Studies in Music Therapy (Advanced

Techniques in Musicianship)

BACHELOR OF Music (HONOURS) [PRE 1989)

The degree of Bachelor of Music (Honours) will be awarded to students who have reached a satisfactory level of honours in the required subjects listed below. Admission to the honours degree will normally be at the commencement of the Third Year, and will normally be limited to students who have attained the following results in year two of the course: • A in 740-213 Music Language Studies 2, and

• Ain either 740-216 Music Performance 2, or 740-214 (Composition - Small Ensembles), and

• either A in 740-211 Music History 2A, or

• at least 12А in 740-271 Music History 2A (Honours).

Intending honours students are expected to take 740-271 Music History 2A (Honours), in the Second Year.

Fourth Year 740-412

740-415 EITHER 740-471

OR 740-476

OR 740-474

7а 0-а 72

26

For admission to the fourth year of the honours course, students must have achieved a mark of at least 12А level in the previous year in 740-371 Music History 3А (Honours), and any one of the following:

• at least 12А level in 740-376 Music Perf о rт aп ce 3 (Honours), or

• at least 12А level in 740-374 Composition - Electronic Music (Honours), or

• an Ain 740-313 Music Language Studies 3.

Specifically, students must have normally achieved:

an A in 740-313 Music Language Studies 3, to enrol in 740-471 Music History 4A (Honours);

at least 12А in 740-374 Composition - Electronic Music (Honours), to enrol in 740-474 Composition - Instrumental and Vocal .(Honours);

at least 12А in 740-376 Music Performance 3 (Honours), to enrol in 740- 476 Music Performance 4 (Honours).

The ranking order for the award of an honours degree is established on the basis of the average mark ot:

Electives.

• The thesis comprising Musicology (Ions); and the speciality (either Music History, Performance or Composition).

Third Year

740.371 Music History 3A (Ions)

740-313 Music Language Studies 3

EITHER 740-376 Music Performance 3 (Ions) OR 740-374 Composition - Electronic Music (Ions)

740-315 Ensemble 3

(note substitute subjects for 1991 in brackets) Electives (2 of the new electives - consult elective list, section 3, for details) Ensemble 4 (740-409 Ensemble 4) Music History 4A ( Н ons)(740-452 Music In the Middle Ages AND 740-425 Renaissance Music AND 740-437 Music Paleography) MusicPe г lormance4(Hons)(740д 06 Music Performance 4) Composition - Instrumental and Vocal (Hons)(740-427 Composition 3) MusicoIogy(Nons)(74O-359 Mus1toIoglce1 Research Method AND 740-462 Dissertation)

Composition, Vocal, and Music Therapy students should note the special requirements for their respective courses listed under the ordinary degree.

27

BACHELOR OF MUSIC EDUCATION (PRE 1989]

No new students will be admitted to this course in 1991.

First Year (no longer available) 740-102 Aural Training 1 740-111 Music History 1A 740-112 Acoustics 740-113 Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1

Second Year (no longer available) 740-202 Aural Training 2 740-211 Music History 2A (Pass) or 740-271 Music History 2A (Ions) 740-213 Music Language Studies 2 740-215 Ensemble 2 740-216 Music Performance 2 740-226 Group Music Performance 1 471-250 Philosophy of Education M

Third Year (no longer available) 740-311 Music History З A (Pass) or 740-371 Music History 3А (Ions) 740-313 Music Language Studies 3 740-315 Ensemble 3 740-326 Group Music Performance 2 740-339 Introduction to Teaching 471-350 Educational Psychology M

Fourth Year (note substitute subjects for 1991 in brackets) 740-401 Music History 48 (Pass) (EITHER 740-452 Music In

the Middle Ages, OR 740-425 Renaissance Music)

740-461 Music History 48 (Hons)(As FOR PASS COURSE, PLUS 740-437 Music Paleography)

740-415 Ensemble 4(740-409 Ensemble 4) 471-450 Sociology of Education M 471-451 Curriculum Studies 471-452 School Practice

Students should note the following: Where a subject is offered at Honours level. admission will normally be based on a result of Ain a pass subject of the preceding year. or at least 12А in an Honours subject of the preceding year.

Where a student obtains a result of A in 740-216 Music Performance 2, permission may be given for that student to enrol in 740.376 Music Performance 3 (Ions) in Third Year. The subject will not count towards the degree.

Students whose practical study Is singing may elect to study the Modern Languages subjects required for vocal students In the BMus. course.

Vocal students will normally be directed by the Faculty to take group piano or keyboard accompaniment as their Ensemble.

Students enrolled for B.Mus.Ed. who wish to undertake Composition studies may, with special approval, enrol for 740-214, Composition - Small Ensembles In Third Year.

28

SECTION 5 - DETAILS OF SUBJECTS - UNDERGRADUATE DEGREES

SUBJECTS FIRST AVAILABLE IN 1989, 1990, OR 1991. (SUBJECTS OF THE NEW BACHELOR OF MUSIC DEGREE COURSE)

YEAR 1 SUBJECTS - INFORMATION AND OUTLINES

740-108 AURAL TRAINING 1

Lecturer: Mr. G.A.R. Bale

A course of two hours per week for two semesters in Year 1. The completion of a taped course in music perception.

Syllabus: Students will be expected to become familiar with tonic sol-la symbols and their corresponding hand signs. The course will concentrate on: 1. The development of aural skills involving intervals and triads occurring in major and

minor scales: pentatonic scales. 2. The development of musical memory, leading to melodic, rhythmic and Iwo-part

dictation; recognition of basic progressions in diatonic harmony. 3. The recognition of simple forms and cadences. 4. Sight singing and rhythm reading.

Assessment: A 1-hour dictation test (50%) and a short practical test (50%) during the November examination period. Students must complete the taped course in music dictation before being admitted to the end-it-year tests.

ENSEMBLE

The subject Ensemble develops skills that are essential to making music with others, while building a knowledge of the repertory of orchestral, choral and chamber music through the experience of communal performance. Each ensemble study will be directed by a member of staff, and the subject will entail no more than three hours contact per week. Additional rehearsal time may be required prior to major performances.

Students enrol in Ensemble for four years (with the exception of students in the music education and nxtsic therapy specialisations who enrol for three years).

The Faculty Choir

The Faculty Choir gives at least two performances a year of major choral works. All students. with the exception of members of the Faculty Orchestra are required to sing in the Choir for at least one year, and to attend rehearsals and performances regularly throughout the year as prescribed by the Faculty.

The Faculty Orchestra

The Faculty Orchestra plays an extremely important role in the performance activities of the Faculty. Students selected to play in the Faculty Orchestra gain invaluable experience through performances of works from the symphonic, choral and concerto repertoires, under the guidance of the Orchestra's principal conductor Christopher Martin, and guest conductors who appear with the Orchestra each year. Membership is competitive and it is expected that all students who play orchestral instruments will audition for places in the Orchestra

29

Other ensembles available within the Faculty of Music are: Chamber Music, Early Music (Baroque Ensemble, Renaissance Wind Ensemble, Viol Ensemble etc), Brass Ensemble, String Ensemble, Handbell Ensemble. Keyboard Accompaniment, New Music Ensemble, Jazz Ensemble.

Ensemble studies at the Institute of Education and available to the Faculty of Music students may include: Big Band, Clarinet Choir, Flute Choir, Guitar Ensemble. Improvisation Workshop, Gamelan and South American Performing Group.

Students may be directed by the Faculty to participate in certain ensemble groups. Where students participate in ensemble activities outside the Faculty the prime responsibility for performance must lie with the Faculty ensemble of which she or he is a member. In the first year vocal students are required to take Group Piano as an ensemble activity.

Alms and Objectives: Upon the completion of the course a student should: 1. Have developed the ability to perform sympathetically with other members of the

group. 2. Be aware of the importance of individual preparation. 3. Become sensitive to the requirements of working in groups, large and small.

particularly with regard to regular and punctual attendance. 4. Have an understanding of the range of repertory available for the ensemble group of

which the student is a member.

740.109 ENSEMBLE 1

Course Co-ordinator: Mr. G.A.R. Bartle

A subject normally of not more than three hours per week in year one. Extra rehearsal time may be required poor to major performances.

Syllabus: Participation in any one of : Faculty Choir

Faculty Orchestra Other ensembles available within the Faculty of Music or the Institute of Education

Assessment: Students will be awarded a pass or fail grade on the basis of: 1. a minimum of 80% attendance and satisfactory participation in rehearsals, and 2. participation in performances as required.

No student may participate in a performance without having completed satisfactory attendance at rehearsals. Final assessment will be made on the basis of participation in public performance, but where this may not be appropriate, in a private performance which must be at a level of quality deemed satisfactory by the Faculty.

MODERN LANGUAGES

Course Co-ordinator. Mr. G.A.R. Barde

Each of the subjects, Italian, German and French will be offered in rotation. In 1991, the subject offered will be Italian. Vocal students are required to complete each of the three subjects before being eligible to graduate. The course in each subject consists of one hour per week throughout the year.

740-125 MODERN LANGUAGES - FRENCH

Syllabus: Vocal works in French. Study of basic grammar, comprehension, enunciation, pronunciation and simple translation into English.

30

740-126 MODERN LANGUAGES - ITALIAN

Syllabus: Study of Italian Arie and other vocal works. Basic grammar, comprehension, enunciation, pronunciation and simple translation into English.

740-127 MODERN LANGUAGES - GERMAN

Syllabus: Vocal works in German. Basic grammar, comprehension, enunciation, pronunciation and simple translation into English.

Assessment (for each Modern Language Subject): 1. One 2-hour examination paper. 2. Oral test. This must be satisfactory passed before a result in the subject can be

obtained.

MUSIC HISTORY

Students enroling for Music History 1-1 should be able to read musical scores competently, and should possess a basic knowledge of harmony, counterpoint and form. All students are required to complete the subject Music History 1 (1-1 and 1-2) in the first year.

To satisfy the requirements for Music History 2, students must complete two of the following subjects, only two of which will be offered in each semester:

740-250 Music History 2A: Keyboard Music 740-251 Music History 26: Chamber Music 740252 Music History 2C: Symphonic Music 740-253 Music History 20: Opera

No student will be permitted to enrol in Music History 2(A. B, C, or D) until both Music History 1-1 and 1-2 have been passed.

740-118 MUSIC HISTORY 1-1

Lecturer: Dr. J.A. Gnffiths

A subject in semester 1 of Year 1 consisting of two lectures апд one tutorial each week.

Syllabus: A survey of Western music from the early Middle Ages until c.1750 illustrated by representative works of the period.

Assessment: 1. Written assignments of not more than 3,000 words (40%). 2. One 3-hour examination paper (60%).

740-119 MUSIC HISTORY 1-2

Lecturer: Dr M. Gillies

A subject in semester 2 of Year 1 consisting of two lectures and one tutorial each week.

Syllabus: . A survey of Western music trom c.1750 to the present day illustrated by representative works of the period.

31

Assessment: 1. Written assignments of not more than 3,000 words (40%). 2. One 3-hour examination (60%).

MUSIC TECHNIQUES SUBJECTS

All students will study the sequence Music Techniques 1.1, 1-2, 2.1, 2-2.

Keyboard Proficiency Test: This test is intended to ensure the proficiency of all students in working Music Techniques exercises at the keyboard. To progress beyond semester 4 level in the course a student must have passed the keyboard proficiency test. The test will Include exercises in the playing of simple pieces in chorale and two-part contrapuntal styles. Classes will be conducted for students who are unable to pass the test at the time of entry to the course.

740-128 MUSIC TECН N Ю UES 1-1

Lecturer: Mr']. O'Donnell

A subject in semester 1 of Year 1 consisting of one lecture and one tutorial each week. Additional tutorials may be scheduled if necessary.

Syllabus: 1. Analysis and writing of simple melodies. 2. Analysis of diatonic and elementary chromatic harmony based on late-Baroque

practice, and associated exercises. 3. Analysis of Bach chorales and writing in chorale style.

Assessment: 1. Weekly assignments (50%). 2. One 3-hour examination at the end of the semester (50%).

A pass mark must be obtained in each section of the assessment.

740-129 MUSIC TECHNIQUES 1-2

Lecturer: Mr J. O'Donnell Prerequisite: 740-128 Music Techniques 1-1

A subject in semester 2 of Year 1 consisting of one lecture and one tutorial each week.

syllabus: 1. Principles of more advanced chromatic harmony based on late-Baroque practice, and

associated exercises. 2. Principles of figured bass, and exercises in figured bass realization. 3. Analysis of Bach two-part inventions and other late-Baroque keyboard pieces, and

writing in these styles. 4. Analysis of Classical string quartet movements, and writing in these styles.

Assessment: 1. Weekly assignments (50%). 2. One 3-hour examination at the end of the semester (50%).

A pass mark must be obtained in each section ot the assessment.

32

PRACTICAL STUDY AND MUSIC PERFORMANCE

Practical music studies aim to develop both technical and interpretative skills of musicians.

Practical Study 1 is taken by all students.

Practical Study 2 is taken by all students except those enroling in the Composition specialisation, for whom it is available as an option.

Practical Study 3 and 4 are core subjects for students in the Instrumental or Vocal Teaching specialisation and available for students in other spec1alisations.

Music Performance 3 and 4 are core subjects for students in the Music Performance specialisation, being restricted to those students displaying considerable promise as performers. A quota will be applied to limit admission to Music Performance 3 based on the ranked order of results for Practical Study 2.

Tuition will involve individual tessons, group lessons and ensemble classes.

No work may be presented for examination more than once, except in supplementary examinations.

740.136 PRACTICAL STUDY 1

Course Co-ordinator. Mr A. Semetsky

A subject in Year 1 consisting of one individual lesson of 45 minutes throughout the teaching year , or one individual lesson of 45 minutes each fortnight plus one group lesson of 1.5 hours each fortnight.

Syllabus: The course aims to develop instrumental and vocal technique, and awareness of the stylistic and interpretative characteristics of the repertory studied.

Assessment: A 25-minute examination at the end of the course (100%). The programme should contain works in contrasting styles. Programmes should be submitted to the Faculty Office no later later than 30 September. The programme may include up to five minutes of orchestral excerpts. Students are reminded that the length of the programme should allow for pauses between works. Programme forms are available at the Faculty Office. The programme is not to include works performed at the VCE Music A examination or its equivalent.

740-137 PRACTICAL STUDY 1A

Course Co-ordinator: Assoc. Prof. R. Farren-Price

A course consisting of individual lessons, group teaching and ensemble classes throughout the teaching year. The course will consist of either one individual lesson of 45 minutes weekly or one individual lesson of 45 minutes per fortnight plus one group lesson of 1.5 hours per fortnight. Ensemble classes will normally be no more than three hours per week.

This course is for students in other faculties wishing to take practical music, as well as for Faculty of Music students approved to take a second performance study. Students will attend the same classes as Practical Study 2 students enroled in the Faculty of Music.

A quota will be imposed by the Faculty of Music on enrolments in Practical Study 1A. Applications for entry to the quota close on 14 February of each year. Application forms are available from the Faculty Office.

33

Except with the permission of the Faculty, students must have reached VCE (HSC) or an equivalent standard in the instrument concerned to enrol in the subject.

Syllabus: 1. The course aims to develop instrumental or vocal technique and awareness of the

stylistic Ind interpretative characteristics of the repertory studied. 2. Participation in ensemble activities.

Ensemble classes seek to develop those skills that are essential in making music with others while building a knowledge of the repertory of orchestral, choral or chamber music through the experience of communal performance. Each ensemble study will be directed by a member of staff. Students are required to attend regularly and participate in one of the following ensembles offered within the Faculty as listed under Ensemble at the beginning of Section 5 of this guide. Students may be directed by the Faculty to participate in any one of the specified ensemЫ es.

Assessment: 1. A 25-minute practical examination at the end of the course. The programme should

contain works in contrasting styles, and demonstrate a breadth of technical accomplishment. Programmes containing the above requirements should be submitted to the Faculty Office not later than 30 September. The programme may include up to five minutes of orchestral excerpts. Students are reminded that the length of the programme should allow for pauses between works. The programme is not to include works performed at the VCE (HSC) Music A examination or its . equivalent. Programme forms are available from the Faculty Office.

2. Participation in ensemble activities. Students will be awarded a pass or fail on the basis of a minimum of 50% attendance and satisfactory participation at rehearsals throughout the year as well as al all performances of the ensembles In which the student is enroled. No student may participate in a performance without having completed satisfactory attendance at rehearsals. If no approved public performance is given during the year an ensemble examination, normally of 15 minutes, will be held.

The ensemble component of Practical Study 1A must be passed before a result can be obtained in the subject, although the ensemble segment will not be counted in the final result.

For information regarding participation in Ensemble activities, students from other faculties should apply to the Faculty of Music Office.

34

YEAR 2 - SUBJECT OUTLINES

COMMON CORE SUBJECTS

740-208 AURAL TRAINING 2

Lecturer: Mr. G.А .R. Bartle Prerequisite: 740-108 Aural Training 1

A course ot two hours per week for two semesters in Year 2.

Syllabus: A continuation of the work begun in first year, using more advanced techniques. The developing of: 1. awareness of modality. and the intervals and triads involved in the various modes; 2. aural skills involving triadic functions within major, minor and modal tonality, chords of

the seventh, chromatic chords and secondary dominants; 3. Musical memory leading to dictation of chord progressions and more advanced

melodic and rhythmic dictation; 4. More advanced skills insight singing and rhythm reading.

Assessment: A 1-hour dictation test (50%) and a short practical test (50%) during the November examination period.

740-209 ENSEMBLE 2

Course Coordinator: Mr. G.A.R. Bartle

A subject normally of not more than three hours per week in Year two. Extra rehearsal time may be required pior to major performances.

Syllabus and assessment: As for Ensemble 1.

740-250 MUSIC HISTORY 2A - KEYBOARD MUSIC

Lecturer. Mr J. O'Donnell Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2

A subject consisting of two lectures and one tutorial each week for one semester.

Syllabus: A study of the history of keyboard music from its origins until the present day. illustrated by selected works from the genre.

Assessment: 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

740-251 MUSIC HISTORY 28 - CHAMBER MUSIC

Lecturer: Mr J. O'Donnell Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2

A subject consisting of two Lectures and one tutorial each week for one semester.

35

Syllabus: A study of the history of chamber music from its origins until the present day, illustrated by selected works from the genre.


740-252 MUSIC HISTORY 2C - SYMPHONIC MUSIC

Lecturer: Or М . Gillies Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2


Syllabus: A study of the history of symphonic music from its origins until the present day, illustrated by selected works from the genre.


740-253 MUSIC HISTORY 20 - OPERA

Lecturer: DAK. Murphy Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2


Syllabus: A study of the history of opera from its origins until the present day, illustrated by selected works from the genre.


740-228 MUSIC TECHNIQUES 2-1

Lecturer. Mr. D. Thornton Prerequisite: 740-129 Music Techniques 1-2


Syllabus: 1. Principles of advanced chromatic harmony based on Classical and early Romantic

practice, and associated exercises. 2. Analysis of Baroque counterpoint, and writing of contrapuntal exercises in up to three

parts. 3. Analysis of Classical and early Romantic pianoforte pieces, and writing of short pieces

in selected styles. 4. Principles of instrumentation, and writing or arrangement of short pieces for various

combinations of instruments.

Assessment: 1. Weekly or fortnightly assignments (50%). 2. One 3-hour examination at the end of the semester (50%). A pass mark must be obtained in each section of the assessment.

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740-229 MUSIC TECHNI О UES 2-2

Lecturer: Mr. D. Thornton Prerequisite: 740-228 Music Techniques 2-1


Syllabus: 1. Principles of harmony and counterpoint based on Romantic practice, and associated

exercises. 2. Principles of instrumentation, and writing or arrangement for various combinations of

instruments. 3. Analysis of Romantic art songs, and related exercises. 4. Introduction to serial techniques, and writing of serial pieces.

Assessment: 1. Weekly or fortnightly assignments (50%). 2. One 3-hour examination at the end of the semester (50%).

A pass mark must be obtained in each section of the assessment.

SPECIALISATION SUBJECTS

740-205 ART OF TEACHING

Course Coordinator. Mr. A. Semetsky

A subject in year two consisting of a seminar of one hour per week throughout the year.

Alms and objectives: By the end of the subject students are expected to: 1. Be familiar with general philosophical aspects of education. 2. Be able to discuss the planning of the lesson and the preparation of a teaching plan. 3. Demonstrate a knowledge of the repertory for their instruments and an ability to sled

appropriate works for a particular pupil. 4. Be acquainted with the traditional method of teaching and basic principles of teaching

technical skills tor their instruments. 5. Show a knowledge of certain methods of music education (Suzuki, Yamaha, Oaf,

Kodaly, Dalcroze and Alexander technique).

Syllabus: 1. A study of teaching strategies and methods relating to the teaching of instruments. 2. Teaching repertory at three levels: beginners, intermediate, advanced. Students are

required to prepare a list of ten pieces at each of the three levels. The list is to be submitted to the Faculty Oftice by the fourth Monday of semester 1.

Assessment: A 15-minute viva voce examination on teaching methods and repertory (100%), in which students are required to: 1. Demonstrate a knowledge of the technical and musical problems In any of the 30

works. 2. Prepare three works from each level (a total of nine) for performance at the discretion

of the examiner.

741-227 COMPOSITION 1

Course Coordinator. Mr. G Gerrard Pre-requisite: Normally the Creative Studies seminar in year 1

A subject in year two consisting of a series of seminars and laboratory time of 3 hours per week and a composition seminar of 2 hours per week throughout the year.

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Objectives: 1. To develop an approach apр rop ň ate to each student's creative goals and to identify

and establish methods and working habits that will be of assistance in achieving those goals.

2. To gain experience in working with the basic materials of musi са l composition - pitch, rhythm, texture, timbre, structural methods and notation.

3. To become acquainted with recent developments in musical composition, both aesthetic and technical.

4. To become familiar with instrumental possibilities (including electronic music equipment) in the realisation of musical ideas.

Syllabus: An introduction to: 1. The fundamentals of traditional composition, including pitch, rhythm, structure.

notation, orchestration, working methods and aesthetics. 2. Basic electronic studio equipment, recording and production techniques, concepts

and working methods.

Assessment: 1. Technical studies or assignments: (20%) 2. A folio of works for: (a) Electronic media.

(b) Soto instruments and traditional small ensembles. A minimum of two works is required in each category, totalling no less than 20 minutes' duration (70%).

3. One class paper of approximately 2,000 words to be presented in the composition seminar, the length and content of which is to be determined in consultation with the lecturer (10%).

MODERN LANGUAGES FOR SINGERS

(See Year 1 details ot subjects)

471-250 PHILOSOPHY OF EDUCATION M

М r. W.G.S. Smith

A weekly seminar of approximately 1.5 hours throughout the year.

Syllabus: Some philosophical aspects of the following topics will be studied: 1. Concepts of education. 2. Education, knowledge and values. 3. Moral and religious issues in education. 4. Education and indoct ň nation. 5. Aesthetics in music education. 6. Current problems in the teaching of music. 7. Assessment and education.

Assessment: Students will be required to present two essays, each of approximately 2,000 words.

740.236 PRACTICAL STUDY 2

Course Co-ordinator: Mr C. Martin Pre-requisite: 740-136 Practical Study 1

A subject In year two consisting of one indvidual lesson of 45 minutes throughout the teaching year, or one individual lesson of 45 minutes each fortnight plus one group lesson or 1.5 hours each fortnight.

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Syllabus: Further development of the areas studied in Practical Study 1.

Assessment: A 25-minute practical examination at the end of the course (100%). Programmes containing works in contrasting styles should be submitted to the Faculty; Office not later than 30 September. The programme forms are available from the Faculty Office.

171-211 PSYCHOLOGY 2M

Convener: Dr. P.E. Pattison Pre-requisite: Psychology 1 or its equivalent

A subject of an average of 1.5 hours lecture per week and one 1.5 hour laboratory session per week throughout the year.

Syllabus: From the syllabus for Psychology 2 students will take any three sections, which may include Ouantative Methods. Each section comprises 12 lectures.

Assessment: 1. Examinations in the middle and at the end of each year. No more than 3 hours in total

will be alloted to examinations. In order to achieve a pass in the subject, a satisfactory level must be recorded in each section taken.

2. No more than three short laboratory reports of rio more than 2,000 words each.

A satisfactory standard in practical work reports must be achieved in order to gain at least a pass in the subject. Further details, including details of practical work assessment requirements, will be published on the Psychology departmental notice-board at the beginning of semester 1 and the second Year Manual which will be available from the department.

740-240 TEC Н NIOUES IN MUSICIANSHIP

Course Co-ordinator. Mr. G.A.R. Battle

A course in Year two consisting of three hours per week for the first half of semester 1, reducing to 1.5 hours per week for the remainder of the year. Music education specialisation students will visit ten schools for observation during the course of the year; music therapy students will undertake ten clinical experience visits; students interested in studio teaching will make ten observation visits to private music teachers studios.

Syllabus: 1. First half of semester 1:

All students: Vocal activities, I hour per week, and group guitar, I hour per week. For Music education specialisation: group percussion, I hour per week. For Music therapy specialisation: Either group percussion, I hour per week, or group accordion, I hour per week.

2. Second half of semester 1: All students: Choral Skills and Conducting, 1.5 hours per week.

3. First half of semester 2: All students: Keyboard skills and piano improvisation, 1 hour per week.

4. Second half of semester 2: All students: Group Improvisation, l.5 hours per week.

The various activities will be conducted in group teaching and workshop situations and will be concerned with the development of musicianship skills pertinent to education and therapy programmes, including song repertoire, a knowledge of commonly used chord progressions on piano,guitar or accordion, some acquaintance with percussion techniques, gesture and rehearsal skills associated with the conducting of choral programmes, and song improvisation using various instruments, body percussion and the voice.

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Assessment: 1. At the end of each semester a short practical test in singing and accompanying

oneself on piano and guitar: music therapy students are also expected to play accompaniments on piano accordion (2 x 20% 40%)

2. A 1,500-word assignment at the end of semester two, to be based on notes taken during the ten observation visits to schools, private studios and the clinical experience visits during the year (60%).

Students must have attended each of the observation visits and have attended and participated in class work to the satisfaction of the Examination Board.

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YEARS 3 AND 4 - SUBJECT OUTLINES

NOTE ALL SUBJECTS LISTED IN THIS SECTION ARE IN ALPHABETICAL ORDER EXCEPT MUSIC PERFORMANCE 3 AND 4 WHICH FOLLOW THE ENTRIES FOR PRACTICAL STUDY 3 AND 4.

740-112 ACOUSTICS

A Subject in either year three or year four consisting ot two hours of lectures per week for one semester. Students who have completed a first year tertiary course in physics may apply to the Faculty for possible exemption from the introductory lectures.

Syllabus: Part A: A Selection will be made from the following topics:

Basic concepts of acoustics: Periodic motion, wave motion, wave propagation, Interference, beats, stationary waves. Forced vibration and resonance. Vibration of stings, air columns and other systems. Loudness: musical dynamics, masking. Pitch: Perception, fundamental tracking, role of harmonics, quality. Physiological acoustics: the ear, the voice. Application of acoustical principles of music: architectural acoustics, intervals, scales and temperament. Quasi-stationary sounds: piano, clavichord, harpsichord. Bowed stings: the violin family. Woodwinds: flute. oboe and clarinet families. Brass family, organ pipes. Percussion.

Part В : A study of electronic music, including tape recording and sound synthesis.

Assessment: Both Part A and Part B will be assessed by one three-hour examination paper at the end of semester 1. The weighting will be: Part A: 75%

Part B: 25%

740-458 ADVANCED TECHNIQUES IN MUSICIANSHIP (replaces 740-433 Curriculum Studies In Music Therapy)

Course Co-ordinator. Mrs. D. Erdonmez

A subject in year four consisting of one three-hour practical class per week throughout the year.

Alms and Objectives:

Aims: Students should have gained advanced practical skills in music therapy techniques to enable them to direct therapy sessions for individual clients and groups.

Objectives: At the end of this course students should have gained advanced skills in: 1. Harmonisation and transposition of melodies by sight and by ear. 2. Tonal and atonal improvisation techniques. 3. Directing group activities and understanding group dynamics. 4. Repertoire of age-appropň ate mateň al suitable for therapy work. 5. Relaxation and guided imagery techniques.

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6. Composition of songs and group song writing. 7. Principles of psychodynamic dance.

Syllabus: Group dynamics and group improvisation. Processes in group therapy work. Principles of psychodynamic movement. Relaxation techniques using music; guided imagery. Advanced techniques in harmonisation, transposition and improvisation. Composition of original songs.

Assessment: Three assignments, each of 1,500 words and the composition of four original songs (50%); a 45-minute practical test at the end of the year (50%).

740-364 APPLICATIONS OF MUSIC IN THERAPY

Lecturer: Mrs. D. Erdonmez

Pre-requisite: Satisfactory completion of the clinical orientation programme.

A subject in year three comprising a 2-hour lecture and a 1-hour tutorial throughout the year.


Alms: At the end of this course students will have gained a comprehensive knowledge of the practice of music therapy for children and adults with special needs.

Objectives: On completion of the course students should have gained: 1. An appreciation of the historical development of the practice of music therapy. 2. An understanding of the philosophical principles upon which music therapy is based. 3. A knowledge of the theoretical approaches in using music as a therapeutic medium. 4. A comprehensive knowledge of research findings in relation to music therapy

methods for children and adults. 5. An understanding of the therapeutic processes in providing treatment and special

education services.

Syllabus: Principles and processes of music therapy. Historical development of the profession. Theoretical bases of the use of music in therapy. The application of music therapy methods in special education and clinical treatment programmes. Study of research literature.

Assessment: 1. Two assignments of 1,500 words each (30%). 2. Two three-hour examinations, one at the end of each semester (70%).

740-357/457 CHAMBER MUSIC REPERTORY AND STYLE

Course Co-ordinalor: Mr. D. Thornton

A subject in either year three or year four consisting of a one-hour seminar or practical class per week throughout the year.

This subject is a core subject lor students in the Music Performance specialisation. For students in other specialisations admission is at the discretion of the subject co-ordinator. This subject does not replace Ensemble in the year in which it is taken.

Alms: 1. To develop a knowledge of the repertory of ensemble music, and of the styles

associated with certain periods and nationalities.

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2. To understand the technical problems of ensemble performance and to develop techniques for overcoming these problems.

Objectives: 1. To prepare performance of works or movements of works at the highest achievable

standard, and to give a performance in public either at a concert or within the class. 2. To be able to discuss in class the performances presented in a knowledgeable, cntical

and responsible manner. 3. To achieve a wide knowledge and understanding of the repertory available using the

instrument played by the student, and to be able to discuss the musical worth and value to the performer of each work.

Syllabus: A study of the repertory of chamber music and works with keyboard accompaniment based on the instruments played by the students in the class. A study of performance styles of this music. Preparation in the class of selected works or movements.

Assessment: 1. Attendance (minimum of 80%) and participation in the seminars (30%). 2. Performance of a work or selected movements or songs of at least 15 minutes'

duration'. The examination performances will take place in concerts or classes during the second semester (70%).

No work may be presented for examination more than once for assessment, except for supplementary examinations.

740-459 CLINICAL PRACTICE IN MUSIC THERAPY


A clinical practicum of 85 days in year four, taken during the mid-year semester break and semester 2. Students will be placed under supervision in an approved facility. Students will also be required to attend a two-hoиг professional development seminar to be held in the Faculty at fortnightly intervals.


Alms: At the end of this course students will have gained practice in planning and implementing music therapy pr grammes with venous client groups.

Objectives: On completion of this course students should have gained: 1. A knowledge of the theoretical framework to determine special needs of clients in

music therapy. 2. Skills in assessing functioning level of clients. 3. Skills in the design and implementation of music therapy programmes. 4. Skills in objective evaluation of therapy outcomes. 5. Report wiling skills for individual case studies and group projects. 6. An understanding of professional ethics in music therapy. 7. An understanding of various service delivery systems.

Syllabus: Skills and techniques in directing individual and group therapy programmes, including assessment of client needs, and the design. implementation and evaluation of treatment programmes with appropriate closure. The role of the music therapist in education/therapy teams; models of health and education service delivery and professional ethics.

Assessment: 1. Two written assessments by the clinical supervisor of the student's performance, one

at mid-semester and the other at the end ot the year.

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2. A special project report of 5,000 words (50%); an individual case study of 1,500 words (25%); a group project report ot 1,500 words (25%); all lo be presented in an approved report wiling style.

740-327 COMPOSITION 2

Lecturers: Dr. B Broadstock, Mr. G Gerrard Pre-requisite: 740-227 Composition 1

A subject in year three consisting of a series of seminars and tutorials of 2 hours per week, 2 hours of laboratory work per week and a composition seminar of 2 hours per week throughout the year.

Objectives: 1 To further identify and develop an individual's musical ideas and working methods. 2 To develop new ideas in the creation of musical works through practice and

experiment. 3 To become fluent in the use of electronic music equipment (including digital hardware

and software), and its creative application. 4 To extend knowledge and awareness of the electronic music literature.

Syllabus: Further development of the areas of traditional and electronic composition.

Assessment: 1. Technical studies or assignments (20%). 2. A folio of works composed during the year. The nature of the works will be

determined in consultation with the lecturers. A minimum of five works is required, totalling no iess than 30 minutes' duration (70%).

3. One class paper of approximately 2.000 words.to be presented in the composition seminar (10%).

740-427 COMPOSITION 3 (replaces 740-414 Composition - Instrumental and Vocal)

Lecturers: Dr. Brenton Broadstock, Mr. Graeme Gerrard Pre-requisite: 740-327 Composition 2

A subject in year four consisting of a series of individual lessons and laboratory time of 4 hours per week and a composition seminar of 2 hours per week throughout the year.

Objectives: 1. To assist in the development of an individual composer's own working methods and

habits, style, language and goals. 2. To introduce the student to advanced techniques and equipment as required for the

above.

Syllabus: A study of advanced compositional techniques involving any resources available in the

Faculty.

Assessment: 1. A folio of works using any of the resources available in the Faculty. A minimum of five

works is required, totalling no less than 35 minutes duration. One work must be of a substantial nature, the size and duration to be determined in consultation with the lecturers (70%).

2. The presentation of a concert, organised by the student, of the student's own works, which may include works from the folio, and totalling no less than 30 minutes' duration (20%).

3. One class paper of approximately 2,000 words to be presented in the composition seminar (10%). .

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471.451 CURRICULUM STUDIES

Approximately 50 lectures and workshops throughout the year.

Syllabus: The subject will consist of an examination of the principles of curriculum planning, teaching methodology, testing and evaluation. Such areas as classroom techniques, conducting, arranging, creative workshops, working with tape recorders, the organisation of extra-curricular activities, and designing a course for junior secondary music will be emphasised. Students will normally study methods of teaching general classroom music. However. students with a strong background in instrumental music (with the exception of piano or organ) may be permitted to study methods of instrumental teaching.

740-462 DISSERTATION

Course coordinator. Dr K. Murphy Pre-requisite: 740-359 Musicological Research Method

A subject in year four involving regular consultation with the appointed supervisor.

Alms and Objectives: To complete this subject optimally, students should: 1. Conceive, plan, and execute a substantial research project. 2. Demonstrate a capadty to think originally and independently within the chosen area of

musicology. 3. Show a command of both the standard г ега tu г e and writings at the current scholarly

forefront of their chosen field. 4. Show the ability to apply musicological research methodologies rigourously and

appropriately.

Syllabus: The research for, and wnting of, a dissertation of 8,000 - 10,000 words on a topic approved by the supervisor and the course co-ordinator.

Assessment: Two bound, typewritten copies of the dissertation are to be submitted for examination not later than the first day of the second semester examination pe ň od. The final mark for this course will be determined solely by the dissertation (100%).

471-451 EDUCATIONAL PSYCHOLOGY M

Lecturer Mr. R. F. laiton

A subject in year three consisting of approximately 50 hours of lectures, tutorials and seminars.

Syllabus: The topics of the course are as follows: 1. Social psychology of education. 2. Child and adolescent psychology and cognitive psychology. 3. Learning, assessment and individual differences.

Assessment: All the above topics will be independently assessed. The assessment may comprise an essay of about 2,500 words, or a written assignment, or an examination, or an examination and an assignment.

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740-309 ENSEMBLE 3

Course Co-ordinator: Mr. G.A.R. Bartle

A subject normally of not more than three hours per week in year three. Extra rehearsal time may be required prior to major performances.

Syllabus and Assessment: As for Ensemble 1.

740-409 ENSEMBLE 4 (replaces 740-414 Ensemble 4)

Course Co-ordinator: Mr. G.A.R. Baille

A subject normally of not more than three hours per week in year four. Extra rehearsal time may be required prior to major performances.

Syllabus and Assessment: As for Ensemble 1.

196-130 HUMAN DEVELOPMENT FOR SOCIAL WORK PRACTICE

Lecturer: D. Scott

One two-hour lecture and one one-hour tutorial in semester 1 of year three. One one.hour lecture in semester 2, with one one-hour tutorial every third week.

Syllabus: Psycho-social development and adaptation across the lile-span.

Assessment: Written assignments of no more than 4,000 words.

740-460 INFLUENCE OF MUSIC ON BEHAVIOUR

Lecturer: Mrs. D. Erdonmez

A subject in year four consisting of two hours of lectures per week in semester one.

Aims and Objectives:

Alms: At the end of this course students should have developed an understanding of the effect of music on human behaviour, and have carried out a research project.

Objectives: On completion of the course students should have gained: 1. A knowledge of current research relating to the effect of music on various

physiological systems of the body. 2. An understanding of the effects of music on mood and psychological well being. 3. A knowledge of theories relating to the learning and memorising of music. 4. An understanding of how the brain processes musical information. 5. A knowledge of the research process. 6. Practice in carrying out a simple research project.

Syllabus:

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Physiological foundations of musical behaviour. Psychological response to music; theories of learning and memory of music. Neurological processing of musical information. Models of research.

Assessment: Students will conduct a simple research project in one of the above areas. The wň tten report ol the project (3,000 words) will be assessed at the end of semester one (100%).

740-3561456 INTRODUCTION TO ELECTRONIC MUSIC

Lecturer: Mr G. Gerrard

A series of seminars of two hours per week and three hours of laboratory work per week for one semester in either year three or year tour.

Alms: To acquire insights into the aesthetic and technical concerns of electronic music, especially for those who have not previously considered its creative possibilities.

Objectives: 1. To develop skills in the use of electronic music equipment. 2. To develop a critical awareness of sounds and how they may be combined, treated

afd sculpted in creative ways. 3. To gain an understanding it basic studio techniques.

Syllabus: A study of the techniques of electronic music, including musique concrète, sound synthesis, sampling and digital processing and generation of sound.

Assessment: Assessment will be based on a tape recording of work composed In accordance with the course of study (100%). The nature of the work will be determined and approved in the seminars and must be presented within a week after the end of the semester.

740-344!444 INTRODUCTION TO MUSIC ANALYSIS

Ledurer. Mr T. Reiner

A subject in either year three or year tour consisting of a seminar of one hour per week throughout the year.

Alms and Objectives: At the end of this course, students should: 1. Have acquired an overview of the range of available analytical theories and

techniques. 2. Have developed criteria for selecting the analytical methodology most appropriate to

the nature of a given analytical problem. 3. Be able to complete rigorous thematic and motivic analyses of tonal and early pretonal

music.

Syllabus: An introduction to the methods of music analysis comprising a survey of the major theories and techniques of music analysis, and instruction in the procedures of thematic and motivic analysis applied to tonal music, early atonal music and serial music of Schoenberg.

Assessment: 1. A Who containing one seminar paper of approximately 1,500 words given in semester

one. and a maximum of three analytical assignments throughout the year (40%) 2. One take-home examination paper at the end of semester two (60%).

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740-3451445 KEYBOARD SKILLS 1

Lecturer: Mr A. Semetsky

A subject in either year three or year four consisting of a two-hour group lesson (with approximately 12 students) throughout semester one held weekly in the keyboard laboratory.

Aims and Objectives: By the end of the course students should: 1. Have improved their practical skills to a level essential for a keyboard player. 2. Have developed the areas outlined in the syllabus.

Syllabus: 1. Harmonisation of melody at the keyboard. 2. Different styles of piano accompaniment. 3. Realisation of chords from symbols. 4. Improvisation over simple harmonic patterns. 5. Sight reading of vocal and instrumental music, including transposition.

Assessment: 1. Weekly assignments (40%). 2. A practical test at the end of the semester (60%).

740-446 KEYBOARD SKILLS 2

Lecturer: Mr A. Semefsky

Pre-requisite: 740-345/445 Keyboard Skills 1.

A subject in either year three or year four consisting of a two-hour group lesson (with approximately 12 students) throughout semester two held weekly in the keyboard laboratory.

Alms and Objectives: To advance further the practical skills achieved in Keyboard Skills 1.

Syllabus: 1. Advanced techniques in harmonisation of melodies at the keyboard. 2. Continuo realisation. 3. Transposition. 4. Improvisation over harmonic patterns and continuation of given beginnings in various

loins. 5. Sight reading of advanced vocal and instrumental scores.

Assessment: 1. Weekly assignments (40%). 2. A practical test at the end of the semester (60%).

740-347/447 MUSIC AESTHETICS (Not available in 1991)

Lecturer. Or K Murphy

A subject in either year three or year four consisting of two hours per week of seminars for one semester.

Alms and Objectives: 1. To become familiar with the fundamental concepts raised in the philosophical area of

aesthetics and how these relate specifically to the study of music. 2. To question what it is that we understand by music. 3. To become acquainted with the sorts of questions that people have asked about

music in the past and study how these questions themselves may reflect the historical period in which they were asked. .

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Syllabus: Major issues in aesthetics with particular reference to music:

The philosophical question of intentionality, subjectivity and objectivity. What is a work of music? How do we understand it?

Expressionist and formalist theories of art. Studies of the writings of Stanley Cavei, Deryck Cooke, Eduard Hanslick, Paul Hindemith, Can Dahlhaus.

Assessment: 1. One 20-minute class paper (20%). 2. An essay of not more than 3,000 words (40%). 3. A take-home examination (40%).

740-348/448 MUSIC AND TECHNOLOGY (Not availaь l e in 1991)

Lecturer: М r G. Gerrard

A subject in either year three or year four consisting of Iwo hours of lectures and workshops per week for one semester.

Alms: To gain an understanding of the impact that technology has had on musical thinking and practice, with particular emphasis on computer technology.

Objectives: 1. To acquire basic skills in the use of computers in, for example, music notation and

music theory.

2. To identify the major torces and influences in the recent propagation of computer music hardware and software.

3. To try to identity likely future developments in the application of music technology, by examining present applications and trends.

Syllabus: A cntical study of the influences of technology on musical thinking and practice including the application of digital computers to solving musical problems. Topics include:

Philosophical : Technology and/or thinking (general). Historical: Technology and/or thinking (musical). Practical: Introduction to the use of computers for music-related tasks

including transcription, notation, music process design and elementary set theory.

Assessment: 1. One assignment of approximately 3,000 words or equivalent (30%). 2. Class papers and exercises (30%). З . One 1-hour examination on the computer (40%).

491-383 MUSK C8 - THE PERFORMING ARTS IN ASIA

A DETAILED OUTLINE OF THIS SUBJECT WILL BE POSTED ON THE FACULTY OF MUSIC NOTICE BOARD

This subject offered is as an Elective by the Institute of Education for 4 hours per week throughout the year. In view of the number of contact hours involved, credit lor one year of ensemble will also be given to students taking this subject.

The course covers various aspects of the performing arts in Asia and Involves a practical component.

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The involvement lime for this subject is 140 hours. There will be one 2-hour rehearsal session per week for two semesters , one i -hour IectureAvolkshop per week for two semesters and one 1-hour seminar per week for two semesters.

740-339/449 MUSIC CRITICISM

Lecturer: Irk. Murphy

A subject in either year three or year four consisting of two hours per week of seminars for one semester.

Alms and Objectives: 1. Ti develop the ability to look critically at some of the assumptions underlying the

study and practice of music. 2. To study writings on the nature and value of musical works. 3. To understand the historical and social background to the development of

professional music criticism. 4. To gain insight into the critical process both in academic and journalistic criticism and

become aware of the problems involved in the discipline.

Syllabus: 1. Theoretical and academic writings on music criticism, looking in particular at issues

raised by the writings of Joseph Kerman. 2. The history of music criticism, tracing the rise of the professional music critic. 3. Journalistic criticism and the problems encountered and created by the

newspaper music critic.

Assessment: 1. One 20-minute class paper (20%). 2. An essay of not more than 3,000 words (40%). 3. A take-home exam nation (40%).

740-350/450 MUSIC HISTORIOGRAPHY

Lecturer: Mrd.O'Donnell

A subject in either year three or year four consisting of one two-hour seminar per week for one semester.

Alms and Objectives: At the end of this course, students should: 1. Have developed an understanding of the philosophies that underlie the ways in

which facts or events are interpreted in historical writing of various kinds. 2. Have examined and assimilated major writings on historiographical theory. 3. Demonstrate an awareness of the historiographical premises that underpin the

standard literature of music history. 4. Understand current trends in music history writing through evaluation of significant

recent publications.

Syllabus:

1. A study of theories of history with particular reference to the writing of historical studies in music.

2. A critical evaluation of philosophies and methodologies of recent writings in music history.

Assessment: Two essays of not more than 3,000 words each (50% each), one of which will be presented as a 20-minute class paper during the course.

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740-3511451 MUSIC IN AUSTRALIA

Lecturer. Dr B. Broadstock


Aims: To gain a knowledge and understanding of the current state of contemporary music in Australia and the historical and social factors which have shaped it.

Objectives: 1. To gain a knowledge of the main characters and institutions that have shaped music in

Australia. 2. To recognize the major Australian composers and develop a critical awareness of their

music. 3. To understand and appreciate the diversity of musical style and musical thought in

Australia. 4. To be able to describe and discuss the above.

Syllabus: The evolution of music in Australia from European settlement to the present day. An examination of: 1. The musical activities in the period European settlement to Federation. 2. The development of creative music to 1945. 3. The coming of age of Australian composition, 1945 to the present day. 4. The influence of institutions and organisations such as the Australian Broadcasting

Corporation, Musica Viva, various University departments and federal and state committees and boards created to develop and fund music in Australia.

Assessment: 1. One seminar paper or essay of 2,000 - 3,000 words (50%). 2. One 3-hour examination paper at the end of the semester (50%).

740-352/452 MUSIC IN THE MIDDLE AGES

Ledurer: DrJ. Griths

A subject in either year three or year four consisting of one two-hour seminar per week for one semester. This subject will be offered in alternate years.

Aims and Objectives: At the end of this course, students should: 1. Have acquired an extensive knowledge of repertory pertaining to the areas selected

in the course for detailed study and the place of music in medieval society. 2. Possess a working knowledge of manuscript sources and their notation, theoretical

treatises, iconographical materials, and musicological scholarship relating to topics of study.

3. Demonstrate a capacity to evaluate modem performances of music of the period.

Syllabus: A study of various aspects of Western music prior to ca 1425, together with an examination of related literary, cultural and social contexts.

Assessment: One 3-hour examination at the end of the course (50%), and one written assignment of approximately 3,000 words, due at the end of the course (50%).

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740-3531453 THE MUSIC OF SPAIN

Lecturer: Or J. Gnffiths

A subject in either year three or year four consisting of one two-hour seminar per week for one semester. This subject will be offered in alternate years.

Alms and Objectives: At the end of this course, students should: 1. Have developed a knowledge of the history of Spanish art music and its social

context, and music from selected folk and popular traditions. 2. Have acquired a detailed knowledge of the music and writings pertaining to the areas

of the course selected for close study.

Syllabus: A study of various areas of Spanish music from both the art and popular traditions from the middle ages to the present day, particularly those that have been of significance in the development of Western music, such as: the medieval monophonic lyric, renaissance polyphony, the zarzuela, 19th century Spanish nationalism, composers of the 20th century, flamenco and the guitar in Spanish music.


740-354/454 MUSICOLOGICAL HISTORY AND THEORY (Not available In 1991)

Pre-requisite: 740-3501450 Music Historiography.

A subject in either year three or year four consisting of one two-hour seminar per week for one semester. Students must have completed the pre-requisite subject Music Historiography before enroling in this subject.

Alms and Objectives: At the end of this course, students should: 1. Have expanded their musicologicat horizons through an increased understanding of

the history of both the historcal and systematic tacets of the discipline, and the torces that have been significant in its development.

2. Have critically evaluated works by central figures in the discipline from an historical viewpoint , with a view to assessing their theoretical and methodological contributions and the influence they have exerted on subsequent scholarship.

Syllabus: A study of the contributions to the discipline of musicology by significant scholars, encompassing both the scope of their studies and the theoretical and methodological basis of their work.


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740-359 MUSICOLOGICAL RESEARCH METHOD

Lecturer. Dr K. Murphy

A subject in year three consisting of one-hour seminar per week throughout the year.

Alms and Objectives: At the end of this course, students should: 1. Be aware of the variety of the resources and methodologies available for

musicological research. 2. Have developed skills in advanced bibliographic management and increased their

awareness of available research resources in various fields. 3. Have attained the research and writing skills prerequisite to writing a thesis.

Syllabus: An introduction to the skills and techniques of musicological research, including such issues as music bibliography, editorial practices, archival practices, as well as the mechanics of dissertation writing.

Assessment: Five assignments of approximately 1,200 words each during the course (20% each).

740-337/437 MUSIC PALEOGRAPHY (replaces 740-472 Music Paleography)

Lecturer Dг J. Griffiths


Alms and Objectives: At the end of this course, students should: 1. Demonstrate skill in the transcription from obsolete notations to modem notation in

line with current standards of scholarly practice. 2. Be familiar with the criteria and pinaples of modem editorial practice. 3. Have acquired basic skills in computerised notation programs for the production of

scholarly editions.

Syllabus: A study of the major styles of notation used in Western music from the middle ages to the early 17th century. Seminars will be based around the production of transcriptions of works from major manuscripts and printed sources of the period.

Assessment: One 3-hour open book transcription examination at the end of the course (40%), and transcriptions realised during the course (60%).

740-341/441 MUSIC SINCE 1960

Lecturer. Mr T. Reiner


Alms: To examine the relationship between music composition and social and cultural change since 1960.

Objectives: 1. To appreciate the stylistic diversity of musical composition since 1960.

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2. To recognize and understand the effect of cultural and social changes upon musical composition since 1960.

3. To gain a knowledge of various composers and their music since 1960.

Syllabus: A historical and sociological survey of music of various styles - folk, pop, jazz, the musical, and serious, written since 1960. The works of composers such as Bob Dylan, John Coltrane, The Beatles, Deep Purple, Stephen Sandheim, Andrew Lloyd-Webber, Berio, Boulez, Cage, Femeyhough, Lutoslawski, Glass, Reich. Scuithorpe, Stockhausen will be examined.

Assessment: 1. One class paper of approximately 2,000 words (50%). 2. One essay of approximately 3,000 words (40%). 3. Attendance and participation in classes (10%).

740-3421442

ORCHESTRATION AND ARRANGEMENT

Lecturer:

A subject In either year three or year four consisting of one two-hour seminar/workshop per week for one semester.

Aims: To acquire the skills necessary to produce musical arrangements for a diverse combination of instruments.

Objectives: 1. To demonstrate a knowledge of the ranges and characteristics of orchestral and band

instruments. 2. To combine diverse instruments together according to accepted principles of

orchestration. 3. To arrange given music both structurally and instrumentally for various instrumental

combinations and/or occasions.

Syllabus: Arranging of vocal and instrumental materials using resources likely to be found in elementary and secondary schools and in music therapy situations.The workshop will involve practical performance of the arrangements conducted by students.

Assessment: 1. Presentation of a folio of arrangements in different styles and for differing resources

(50%). 2. Preparation of parts and direction of the class ensemble in performing the

arrangements (50%).

740-343/443 PERFORMANCE PRACTICE AND ORGANOLOGY

Lecturer: Mrd.O'Donnell


Alms and Objectives: Upon completion of the course a student should: 1. Have a broad understanding of musical styles of the Renaissance, Baroque and

Classical periods. 2. Have an ability to distinguish aesthetics chronologically and nationally. 3. Have an appreciation of the significance of performance practices to the realisation of

such aesthetics. 4. Be able to demonstrate a familiarity with major contemporary treatises on performance. 5. Have an understanding of the development of musical instruments during the period.

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6. Have a specific knowledge of techniques appropriate to his or her own instrument or family of instruments.

7. Be able to demonstrate the above knowledge and understanding in perlorniance.

Syllabus: A study of the various national styles and performance practices relating to music of the Renaissance, Baroque and Classical periods and the development of musical instruments during this time. The course will involve an appraisal of the primary source material - treatises and music - as well as current research literature.

Assessment: 1. One 20-minute class paper (20%). 2. An essay of not more than 3,000 words (40%). 3. A performance ot a work or selected movements of at least 15 minutes duration

(40%).

740-365 PHYSIOLOGY FOR MUSICIANS


A subject in year three, composing two hours of lectures per week in semester 2.


Alms: Al the end of this course students should have gained a basic knowledge of body systems, and an understanding of overuse syndrome and its prevention.

Objectives: On completion of the course students should have gained a basic knowledge of the physiology of the body including: 1. Bones and joints. 2. Muscles. 3. The central nervous system. 4. Higher cerebral function. 5. Neurophysiology of mood. 6. Overuse syndrome. 7. Prevention of overuse syndrome.

Syllabus: Basic study of the anatomy and physiology of the body, including bones and joints, tendons, muscles and nervous systems. Movement analysis, including control of voluntary movement, posture and aspects of higher cerebral function; acquisition of motor skills and the pathogenesis of overuse syndrome.

Assessment: One three-hour written examination at the end of semester two (100%).

740-336 PRACTICAL STUDY 3

Course co-orď nator: Mr D. Thornton Prerequisite: 740-236 Practical study 2

A subject in year three consisting of one individual lesson of 45 minutes each fortnight and a weekly two-hour seminar.

Alms and Objectives: Upon completion of the course a student should: 1. have developed further the technical skills achieved at the level of practical study. 2. be aware of the principles of teaching on a one-to-one level as well as small group

teaching.

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3. be well acquainted with a wide range of teaching material repertory. 4. have developed a small teaching practice from which demonstration lessons can be

illustrated to the class.

Syllabus: 1. Continued development of practical skills from Practical Study 2. 2. A seminar examining advanced teaching techniques, style and repertory. There will

be lectures dealing with specific techniques and problems associated with individual instrumental groups, I.e. keyboard, strings, woodwind, brass and voice. Students are expected to work regularly with a group of young students and are encouraged to build a small teaching practice. It is expected that these young students will occasionally attend the classes so that members of the seminar may conduct demonstration lessons before the group. Familiarity with an extended range of pedagogical repertory is essential.

In addition the seminar will provide opportunities for students to discuss problems of style in their solo or ensemble repertory and to give performances.

Assessment: 1. A 30-minute practical examination (40%). The programme may include up to five

minutes of orchestral excerpts. 2. Participation in performance and discussion at the seminar (20%). 3 One two-hour written examination dealing with issues of teaching method raised in

the seminar (30%). 4. A 1,000-word written assignment on some aspect of performance style related to the

student's instrument (10%).

740-436 PRACTICAL STUDY 4

Course co-orď nators: Assoc Prof R. Farren-Price and Mr C. Martin Prerequisite: 740-336 Practical Study 3

A subject in year four consisting of one individual lesson of 45 minutes each fortnight and a weekly two-hour seminar.

Alms and Objectives: Upon completion of the course a student should: 1. have developed further the technical skills achieved at the level of practical study 3. 2. be aware of the principles of teaching on a one to one level as well as small group

teaching. 3. be well acquainted with a wide range of teaching material repertory. 4. have developed a small teaching practice from which demonstration lessons can be

illustrated to the class.

Syllabus: 1. Continued development of practical skills from Practical Study 3. 2. A seminar addressing further questions of style, repertory and teaching method,

including the teaching of theory and aural skills, and evaluation of group instrumental or vocal teaching. Demonstration lessons conducted live or on video tape will be discussed. In addition students are expected to further widen their knowledge of repertory both concert and pedagogic, and to give performances of solo and/or ensemble works in the seminar.

Assessment: 1. A 30-minute practical examination (40%). The programme may include up to five

minutes of orchestral excerpts. 2. Participation in performance and discussion in the seminar. This will include evaluation

of teaching skills as displayed on the tapes and in lesson plans (30%). 3. A 15-minute viva voce examination of knowledge of teaching approaches and

repertory (30%).

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740-306 MUSIC PERFORMANCE 3

Course Co-ordinator: Mr D. Thornton Prerequisite: An W result in Practical Study 2

A subject in year three consisting of a weekly lesson of one hour and a weekly master class of two hours. A quota will be applied limiting admission to this subject to the students who have achieved the highest results in Practical Study 2. Students are invited to attend the seminar component of Practical Study 3.

Aims and Objectives: Upon completion of the course a student should: 1. have developed a thorough technical background to cope with all stylistic demands. 2. have established a sizeable concert repertory covering all styles. 3. be able to show that the ability to manage stress will ensure sound concert

presentation.

Syllabus: Advanced study of concert repertory and all related aspects of music performance.

Assessment: 1. A 40-minute practical examination at the end of the course (100%). Programmes

containing majorworks in contrasting styles should be submitted to the Faculty Office not later than 30 september. At least one work must be played from memory. Program forms are available from the Faculty Office.

2. Students are expected to perform at least once per semester at the master class. A report on performance in the master class will be made available to the Board of Examiners at the end of the year by the co-ordinator of the subject. Students must give satisfactory performances in both semesters before being permitted to perform at the annual examination.

740-316 MUSIC PERFORMANCE 3 AVAILABLE TO STUDENTS COMPLETING THE PRE-1989 DEGREE ONLY

Course coordnator. Mr D. Thornton

A course in Year 3 throughout the year consisting of individual lessons and group teaching.

Syllabus The programme will be of prepared works from the main music periods from which suitable material on the instrument is available, and will continue the critical study of interpretation commenced in Music Performance 1 and further developed in Music Performance 2.

Assessment A 40-minute examination at the end of the course. The candidate will prepare a programme of at least 50 minutes duration from which the examiner will select c.35 minutes for performance. Programmes containing major works in contrasting styles should be submitted to the Faculty office not later than 31 August. Programme forms are available from the Faculty Office.

The programme should include two studies of which the examiners will choose one for playing at the examination.

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Course co-ordinators: Assoc Prof R. Farren-Price and Mr C. Martin Prerequisite: 740-306 Music Performance 3

A subject in year four consisting of a weekly lesson of one hour and a weekly master class of Iwo hours. Students are invited to attend the seminar component of Practical Study 4.

Alms and Objectives: Upon completion of the course a student should: 1. have developed a thorough technical background to cope with all stylistic demands. 2. have established a sizeable concert repertory covering all styles. 3. be able to show that the ability to manage stress will ensure sound concert

presentation.

Syllabus: Advanced study of concert repertory and all related aspects of music performance. The study should Include a concerto or a major ensemble work comprising at least three players. Vocal students may prepare an excerpt of at least 10 minutes duration from opera or oratorio or a major ensemble work for voice and at least three additional players.

Assessment: 1. A 50-minute recital, which may be open to the public, at the end of the course (80%).

Programmes containing works in contrasting styles should be submitted to the Faculty Office not later than 30 September. It is expected that a significant proportion will be played from memory. Progгатпе forms are available from the Faculty Office.

2. Performance of either a concerto, a major ensemble work or an excerpt from opera or oratorio. All performances of concertos and operaloratono excerpts must be from memory. Except under special drcumstances, concertos and arias will be performed with piano accompaniment (20%).

3. Students are expected to perform at the master class at least once per semester. A report on performance in the master class will be made available to the Board of Examiners at the end of the year by the co-ordinator of the subject. Students must give satisfactory performances in both semesters before being permitted to perform at the annual examinations.

4. A viva voce test of 10 minutes' duration on the repertory and history of the instrument, held at the end of semester 1. This test must be passed before a result can be recorded in the subject, but it will not be counted in the result.


AVAILABLE TO STUDENTS COMPLETING THE PRE-1989 DEGREE ONLY

Course cо -ordinators: Assoс Prof R. Farren-Pnce and Mr C. Martin

A course in year 3 throughout the year consisting of individual lessons and group teaching.

Syllabus The programme will be of prepared works from the main music periods from which suitable material on the instrument is available. and will continue the critical study of interpretation commenced In Music Performance 1 and further developed in Music Performance 2.

Assessment 1. A 50-minute examination at the end of the course which may be open to the public if the candidate so desires. Candidates will prepare a programme of approximately 40 minutes duration, Including breaks, which will normally be heard in its entirety by examiners. Programmes containing major works in contrasting styles should be submitted to the Faculty Office not later than 31 August. Programme forms are available from the Faculty Office. 2 An oral test of 10 minutes duration on the repertoire and history of the instrument, held at the end of first semester. This test must be passed before a result can be recorded in the subject, but it will not be counted in the result.

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740-322/422 RENAISSANCE INSTRUMENTAL MUSIC

Lecturer Dr J. Griffiths

A subjе ct in either year three or year four consisting of one two-hour seminar per week for one semester.

Aims and Objectives: At the end of this course, students should: 1. Be familiar with a representative sample of renaissance repertory for solo instruments,

with a critical awareness of style, compositional prinaples and performance practice. 2. Have acquired a knowledge of sources, editions and pertinent scholarly literature. 3. Have gained an understanding of the instruments, performance techniques,

construction and notation for which the repertory was conceived.

Syllabus: A study of instrumental music to about 1620 principally for lute and keyboard instruments, but also for other wind and string instruments with a significant extant literature. The course examines sources and styles from Italy, France, Germany, Spain, England and the Netherlands afd Investigates theoretical sources that document improvisation, embellishment and other performance practices of the period.

Assessment: Two essays of not more than 3,000 words each (50% each), one of which will be presented as a 20-minute dass paper during the course.

740-325/425 RENAISSANCE MUSIC

Lecturer: Mr J. O'Donnell


Aims and Objectives: At the end of this course, students should: 1. Have acquired an extensive knowledge of repertory pertaining to the areas selected

in the course for detailed study and the place of music in renaissance society. 2. Possess a working knowledge of manuscript and printed sources of the period, their

notation, theoretical treatises, iconographical matenals, and musicological scholarship relating to topics of study.

3. Demonstrate a capadty to evaluate modem performances of music of the period.

Syllabus: A study of aspects of European music and society from ca. 1425 - 1600, focussing on the major genres of sacred and secular music from the period.

Assessment: One 3-hour examination at the end of the course (50%), and one written assignment of approximately 3,000 words, due at the end of the course (50%).

740-327/427 SCHENKERIAN ANALYSIS

Lecturer. Dr M. Gillies


It is recommended that 740-344/444 Introduction to Music Analysis be completed before entering this course, or that the courses be taken concurrently.

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Alms and Objectives: At the end of this course, students should: 1. Understand with greater depth certain aspects of musical structure and design of

tonal music through the principles and techniques of Schenkerian analysis. 2. Be able to analyse works of the period described in the syllabus using Schenkerian

principles.

Syllabus: A study of the principles and development of Heinrich Schenkers method of analysis, followed by detailed instruction in the application of these analytical techniques to tonal music from the late 17th to the late 19th centuries. Students will be required to complete a small number of exercises in analysis in preparation for the assignments.

Assessment: 1. A maximum of three analytical assignments (40%). 2. One take-home examination paper at the end of the semester (60%).

471-452 SCHOOL PRACTICE

The subject will consist of: 1. Demonstration lessons, microteaching sessions. 2. Observation of teaching and other school work. 3. Teaching practice in approved schools as arranged by the Faculty, the amount to be

determined. according to (i) the previous experience, and (ii) the aptitude of the student.

Assessment The student will be assessed (to Pass only) on the basis of performance in practice In approved schools.

740-328/428 THE SECOND VIENNESE SCHOOL

Lecturer. Mr T. Reiner


Alms: 1. To discuss philosophical and political thinking which affected the arts in Austria and

Germany in the Iate 19th and early 20th centuries. 2. To achieve an understanding of the textural and structural characteristics of the music

by Schoenberg, Berg and Webern.

Objectives: 1. To gain a comprehensive knowledge of the repertory by the relevant composers. 2. To analyse the style and structure of certain works.

Syllabus: A historical and analytical study of the music of Schoenberg, Berg and Webern, focussing on a representative group of works. The cultural, social and political contexts in which the composers worked will also be examined.

Assessment: 1. One essay of approximat е ly 3,500 words (60%). 2. One Gass paper (40%).

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471-450 SOCIOLOGY OF EDUCATION M

Approximately 30 hours of lectures and tutorials.

Syllabus The subject will introduce students to issues about various social processes related to education. Students will be encouraged to select certain aspects of the course for special study.

Assessment Not more than three written assignments

740-329/429 THE SOLO SONG (Not available in 1991)

A subject in either year three or year tour consisting of one two-hour seminar per week for one semester.

Alms and Objectives: Students completing this course should: 1. Have acquired a familiarity with a small yet important genre of Western music. 2. Have acquired the ability to analyse musical works in detail. concentrating in particular

on the relationship between voice and accompaniment, and between music and words.

3. Have an enhanced sensitivity to issues of performance of works from this repertory, from the standpoint of performer and/or listener/critic.

4. Be able to relate the solo song repertory to its contemporary musical, cultural and social context.

Syllabus: A study of the development and the repertory of the solo song in one or two of the following areas: 1. The solo song in pre-tonal music. 2. The solo song in baroque music. 3. The European art song in the nineteenth century. 4. The solo song in the twentieth century. The course may focus on more specialised styles within these broad areas. Details of proposed areas of specialisation will be posted on Faculty noticeboards during the semester prior to that in which the course is to take place.

Assessment: 1. One seminar paper of 2000 - 3000 words (50%). 2. One 3-hour examination paper at the end of the semester (50%).

740-330/430 STYLE ANALYSIS • ROMANTIC PIANO LITERATURE

Lecturer: Mr D. Thornton

A subject in either year three or year tour consisting of one two-hour seminar per week for one semester.

Alms: 1. To survey a comprehensive range of Romantic piano repertory. 2. To distinguish the styles of different nationalities and specific composers, including

harmonic and contrapuntal style, keyboard texture and figurations, and structural characteristics.

3. To discuss technical matters relating to the perfomiance of Romantic piano music including ornamentation, tempo, rhythm and rubato.

Objectives: 1. To develop an understanding of the style of each important composer, and a

knowledge of available editions of their music.

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2. To be able to comment on common editorial shortcomings in many publications. 3. To be able to comment critically and intelligently on peп ormance of relevant works.

Syllabus: A survey of selected works of the Romantic piano literature, concentrating on questions of style. Aspects of performance practice of the period will also be addressed.

Assessment: 1. A witten assignment of approximately 2,500 words, due mid-way through the course

(50%). 2. A 3-hour examination paper (50%).

740-358 SYSTEMS OF MUSic EDUCATION

Course co-ordinator: Mr G. Barrie

A subject in year three consisting of three hours per week for the first half of semester one, reducing to two hours per week for the remainder of the year. Music Education students will spend twenty half-days as a teacher/helper in a primary school; Music Therapy students will undertake a similar programme in an appropriate clinical setting.

Alms and Objectives: Students completing this subject should: 1. Have become familiar with three world systems of music education - Orff, Kodaly and

Dalcroze. 2. Be able to describe the philosophy, methods and materials of at least one of these

approaches. 3. Have developed practical and theoretical skills In their chosen area and be able to lead

the group in appropriate workshop activities. 4. Have established a rapport with teachers and students in a school situation or with

clients in a clinical setting, and have begun a collection of materials, methods and approaches to be used as a basis for their future teaching therapy experiences.

Syllabus: 1. First half of semester oie:

Introduction to Orff Schulwerk, 1 hour per week. Introduction to Dalcroze Eurhythmics, 1 hour per week. Introduction to Kodaly Choral Method, 1 hour per week.

2. Second half of semester one and the whole of semester two: Any one of: OM Schulwerk, 2 hours per week.

Dalcroze Eurhythmics, 2 hours per week. Kodaly Choral Method, 2 hours per week.

Activities will be undertaken according to the nature of the selected conducted in workshop style.

Assessment: At the end of semester two: 1. A short practical test (60%). 2. A 1,500-word assignment on the area of specialisation (40%). 3. Presentation of an observation book on the last Tuesday of the second semester

containing relevant notes on the schooVclinical experience during the year.

Students must have attended the twenty half-day visits and have attended and participated in the class work lor their chosen activity to the satisfaction of the Examination Board.

740-419 THE 1890e

Lecturer: Dr M. Gillies


topic, and will be

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Alms: 1. To focus on the state of the arts and the patterns of change during the 1890s and , in

particular, to relate the state of music to other arts. 2. To study in some detail the patterns of change that were developing in different

counties and in the work of specific composers.

Objectives: 1. To be able to discuss philosophical thinking and the political circumstances of the

penod in question, and especially their beanng on the arts. 2. To develop a broad knowledge of the variety of compositional styles and the range of

repertory by many composers in Europe and the USA. 3. To achieve a detailed knowledge of the music by a smalt group of composers who

were typical of their time and nationality.

Syllabus: This subject will examine selected works from the 1890s, drawing occasional conclusions concerning such issues as nationalism in music and musicians, expansionlcontractionldisintegration evident in various musical parameters, new approaches to the setting of texts, the relations of music to the other arts and to prevailing politico-economic circumstances. It is expected that the course will concentrate on an examination of the output of a small number of the following composers: Tschaikovsky, Rachmaninov, Rimsky-Korsakov, Brahms, Dvorak, Verdi, Schoenberg, Puccini, Elgar, Richard Strauss, Mahler, Debussy, Ravel, Fauré, Chabrier, Satie, Reger, Albeniz, Gneg, Saint-Sagins, MacDowell, Ives, Balakirev, Wolf, Sknabin.

Assessment: 1. One 35-minute class paper (20%). 2. One essay of not more than 2,500 words (30%). 3. One 2-hour examination (50%).

740-320/420 TWENTIETH CENTURY MUSIC TECHNIQUES

Lecturer. Dr B. Broadstock

A subject in either year three or year four consisting of two hours of lectures and tutorials per week for one semester.

Alms: To acquire skills in the writing of music of various styles drawn from the twentieth century.

Objectives: 1. To demonstrate a working knowledge and understanding of different musical styles

and techniques drawn from the twentieth century. 2. To appreciate the skills and technique involved in the compositional process. 3. To be able to compose shon pieces utilizing different twentieth-century music

techniques.

Syllabus: A study of styles and techniques of selected forms of twentieth-century music: 1. Diatonic popular styles. 2. Pinciples of serial composition. 3. Orchestral and chamber scoring. 4. Principles of simctunng.

Assessment: A folio of work to be submitted at the end of the semester. The folio will comprise the following: 1. Three major assignments, each of which will be no more than 64 bars in length (70%). 2. Three written analytical exercises of not more than 400 words each (30%).

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SECTION 6 - STUDY RELATED MATTERS

6.1 DEFERMENT OF PLACE All courses in the University of Melbourne may permit students to defer the commencement of their studies. Applications for deferment should be made after receipt of an offer, during the period allowed for signifying acceptance of the offer. Students whose applications are approved are not required to enrol. Towards the end of the year for which deferment was granted, students will be asked to confirm that they intend to accept a place in the following year.

Students who are granted deferment do not have to re-apply for admission to the course for which deferment was approved. If, however, they wish to seek admission to another course, they must re-apply for admission through VTAC.

6.2 COURSE CHANGES Students who wish to change their course, or subjects within a course, or who wish to change their practical study teacher, or change from one class to another, should consult the Associate Dean (students) or the Administrative Officer.

6.3 PART TIME STUDY No facilities for part-time study are available in the first year of the course. Students wishing to enrol on a part-time basis in later years of their course should apply to do so during the normal re-enrolment period. No evening lectures are conducted.

6.4 EXTERNAL STUDIES It is not possible to undertake externai studies in subjects offered by the Faculty of Music.

6.5 LEAVE OF ABSENCE Students who wish to interrupt their courses should apply to the Faculty for leave of absence, stating reasons lor the request. Leave of absence will normally be given for one year only. Applications should be addressed to the Assistant Registrar (Music).

A student interrupting a course without having sought leave of absence, may be suspended from the course by the Academic Board on the recommendation of the Faculty.

All students who have received official leave of absence will be requested to inform the Assistant Registrar (Music) of their intentions with regard to their course by wring to the office before 30 November of the year prior to the expiration of their leave.

Students must also apply for permission to be absent for shorter periods during the academic year, should such absence be desired.

6.6 EXTERNAL MUSICAL ACTIVITIES Students may participate in any musical activity outside the Faculty of Music only with the written permission of the Dean. Such permission must be gained prior to beginning that outside musical activity.

6.7 METHOD OF ASSESSMENT Details of the method of assessment appear under Individual subject headings. Where different forms of assessment are used within a subject, the relative weighting of essays, assignments, practical work, witten or oral examinations or any other form of examination will be posted on Faculty noticeboards at the beginning of the academic year. For the pre-1989 Bachelor of Music and Bachelor of Music Education degrees, Grade structure A-F is used for pass subjects and H1-N for Honours subjects and tir subjects which are both Pass and Honours.

64

In the new Bachelor of Music offered from 1989. Grade Structure A-F will be used for all subjects except Ensemble 1, 2, 3 and 4 which will be assessed as pass or fail only.

6.8 STUDY DIFFICULTIES Students experiencing study difficulties as a result of illness, accidents, or personal and financial problems, should seek advice from faculty staff as soon as possible. Students are urged to discuss any study problems with their lecturers or tutors, the Deputy Dean (Dr John Gń ffiths), the Associate Dean(Students) (Mr Graham Bartle), the Assistant Registrar (Mr David Burd) or the Administrative Officer (Ms Sylvia Edwards).

Depending of the nature and seriousness of the problem, faculty staff may suggest that students call at the Student Counselling Service or the Financial Aid and Employment Office. Students may approach either of these Offices directly if they so wish. Alternatively, some students may prefer to discuss their study difficulties with members of the Student Representative Council. More detailed information about these services can be found in the Student Diary.

6.9 SPECIAL CONSIDERATION See entry under this heading in the Student Diary.

6.10 SPECIAL EXAMINATIONS Special Examinations may be granted under the following circumstances:

1. Where students are physically unable to sit for an examination or a substantial part of that examination, satisfactory medical or other evidence is required. Applications must be made before or as soon as practicable after the date of the examination.

2. if a candidate is ill during the examination the candidate should report to the supervisor at the examination centre and make an application supported by medical or other evidence within three (3) days of the examination.

3. In cases where students' studies have been so gravely impaired by illness or other seň ous cause that they are precluded from doing themselves justice at the normal examination time, the Faculty may grant them special examinations in February. Such students should make it clear in their application for special consideration that they are applying for special examinations. Strong supporting evidence is necessary. In such cases the application must be made before the commencing date of the annual examination.

6.11 SUPPLEMENTARY EXAMINATIONS Supplementary Examinations may be awarded by the Study Progress Committee in accordance with the Faculty of Music Progress Rules.

6.12 FACULTY PROGRESS RULES Progress Rules for students enroled in the undergraduate courses are set out below:

6.12.1. Study Progress The Study Progress Committee acts on behalf of the Faculty of Music in implementing Regulation 2.5 - Unsatisfactory Progress.

Where a student fails or is absent from an examination, the Study Progress Committee may, after investigating the circumstances and giving the student concerned an opportunity to be heard, (a) award supplementary examinations: (b) specify the subjects for which the student may enrol in any subsequent year; or (c) report its opinion to the Academic Board that the student be suspended from the course.

65

6.12.2. Supplementary Examinations The Faculty of Music directs that supplementary examinations may be awarded for each subject In each year of the undergraduate courses.

Such examinations will be awarded by the Study Progress Committee if, after reviewing the student's progress in the year as a whole, the Committee is satisfied that; (a) the examination performance is not too far below the pass mark, and (b) the student has made a serious attempt throughout the year.

Supplementary examinations will be awarded in accordance with the above guidelines where: (a) a failure in one subject will prevent a student from completing the course in minimum lime; or (b) a failure in any one of Practical Study, Music Performance. Composition, Music History or Music Techniques ; or (C) a failure in one of Practical Study, Music Performance, Composition, Music History, Music Techniques or Music Language Studies and one other subject of the course; or (d) failure in any other two subjects lithe course.

6.12 .3. Leave of Absence The final date for the submission of applications for leave of absence is 31 August in each academic year. Thereafter the result grade 'F' (fail) will be recorded against the appropriate subjects in official records except where, with special approval of the Faculty of Music, individual applicants are exempted from the foregoing prescription.

6.12.4. Unsatisfactory Progress The progress of a student will be deemed to be unsatisfactory if the student: (a) fails three or more subjects In the one year, (b) fails any two of Practical Study, Music Performance, Composition, Music History or Music Techniques in the one year; (c) fails any subject twice; (d) fails two subjects in each of successive years; (e) as a pan-time student fails more than 50% of the subjects entered for in any one year; or (f) having failed to achieve a satisfactory result in any Practical Study or Music Performance subject, is unlikely, in the opinion of the examiners, to reach the level of proficiency required for that subject.

Such a student will be given an opportunity to be heard by the Study Progress Committee. If the student does not satisfy the Committee of his/her capacity to pass if permitted to continue the course, that student shall be recommended to the Academic Board tor suspension from the course.

6.12.5. Course Progress No student shall proceed to the third year of the course before passing all subjects of the first year nor to the fourth year before passing all subjects of the second year.

6.13 RULES OF UNSATISFACTORY PROGRESS Rules for unsatisfactory progress, as revised or reaffirmed as the result of a review, will be placed on Faculty notice-boards prior to the commencement of the first semester in 1991.

6.14 DIRECTIONS TO EXAMINERS RELATING TO ASSESSMENT Directions of the Academic Board Pursuant to Regulation 4.2.1 Directions of the Academic Board Pursuant to Regulation 4.2.7(3) For directions to both, see the Appendix in the Student Diary.

6.15 DISCONTINUATION Persons wishing to discontinue their courses should refer to Regulation 2.2, sections 5 and 6, in the University Calendar.

66

SECTION 7 - OTHER INFORMATION

SINGLE SUBJECTS Students wishing to undertake single subject from the Undergraduate Music Degree courses not leading to any of the above qualifications should contact the Faculty Office in the first instance.

ORCHESTRAL BURSARIES A limited number of Orchestral Bursaries is awarded to players of orchestral instruments who have taken Practical Study 1A to enable them to continue study at higher levels. The award of an orchestral bursary cames with it the obligation to take part in orchestral activities in the Faculty.

MATRICULATION ROLL When beginning a course for a degree or diploma which requires matriculation, all students must sign the prescribed declaration at the time of enrolment. Unless this is done, no subjects passed can count towards a degree or diploma requiring matriculation.

In order to be eligible to sign the matriculation roll, candidates must have: (a) satisfied the general entrance requirements of the University; (b) satisfied the special course requirements, if any, for their particular course; (c) been selected for and enroled in their course; (d) attained the age of seventeen years by 31 March of the year concerned.

SUMMER SCHOOL IN BASIC MUSIC THEORY In January. the Faculty, in conjunction with the Victorian Society of Organists, may conduct a Summer School in Basic Music Theory. The course is designed to be of particular value to students with a limited background in Music theory who intend to undertake tertiary studies in Music. Full details of the course are available from the Faculty Office.

ACTIVITIES Concerts The Faculty organizes a series of free lunch-hour concerts twice a week - Mondays and Thursdays - during the teaching periods of each semester. Students are expected to participate in the Monday concerts. Choral, orchestral and chamber concerts are held in the evenings as well. Details of all concerts are available trom the Concert Office.

Student Music Week Student Music Week is a regular feature of the Faculty's activities usually held in July each year. It is organized by the Music Students Society with the assistance of the Faculty Concert Office.

It offers students of the Faculty an opportunity for intensive music-making and promotion, and gives people outside the chance to hear something of the range of student activities.

FACILITIES Library The University Library comprises the Baillieu Library and fourteen branch libraries in various faculties and departments. The Music Library (on the 3rd floor of the Baillieu Library) houses the main holdings in Music and is open to students of all faculties. In addition to the usual reference and undergraduate material, the library houses a large Faculty collection of scores and sheet music as well as an extensive orchestral and choral library. A comprehensive record collection and listening carrels are available within the library area for the use of music students.

67

Instruments A number of instruments are available for hire by music students. Enquiries should be made to the Music Librarian. In addition, the Faculty has a collection of early musical instruments which are available for use by students. Enquiries for these should be directed to Mr G. Dikmans.

Grainger Museum The Grainger Museum, established and financed by Percy Grainger, was completed in 1938. The building houses a unique collection, the work of a strongly individual and independent artist. Aspects of Grainger's life, his personality and viewpoints, are conveyed by many of the exhibits. Items on display Include musical instruments, furniture, clothing, paintings and many other objects and items concerning Grainger, his interests and associates. The museum's archives include music (manuscript and published), recordings of all types, correspondence, documents, photographs, books, journals and personal items, as well as the archival records of the Royal Victorian Uedertafel and music manuscripts of Professor G W L Marshall-Hall. A booklet, A Guide to the Grainger Museum is available, and the building is open Monday to Friday 10 am to 4 pm (public holidays excepted).

The Electronic Music Studio The Electronic Music Studio was established in 1973 with the aid of a grant from the Gulbenkian Foundation. The original studio has grown to three, a general teaching and composition studio, a synthesizer (digital and analog) laboratory, and the central Control Room linked to Melba Hall for recording of live performances and reproduction of tape compositions in concert. The Studio's equipment includes state-of-the•art mixing and 8-track recording facilities, several composition and performance synthesizers, as well as signal processing equipment, various tape recorders and a Digital Audio Processor.

USE OF PIANOS IN MELBA HALL AND HEINZE ROOM MELBA HALL The use of the two 1989 Concert Steinways for examinations is restricted to students at the Masters and fourth year honours levels. These students are allowed to rehearse on the piano for 1 hr maximum pior to the day of their examination.

Fourth year pass students and third year (pass and honours) students are to use the 1981 Concert Steinway. This Steinway is also to be used for accompaniment by students at all levels, whether pass or honours. The Bosendorfer concert grand is available for examination purposes at all levels for solo and accompaniment.

Rehearsal time on all instruments is restricted to one hour overall. Booking of the pianos In Melba Ha" should be arranged with the Building Supervisor, Mr B. Lord.

HEINZE ROOM Similar practice restrictions apply to the Steinway In the Heinze Room. Students in their first and second year of Practical Studies can rehearse on the piano (solo as well as accompaniment) for a maximum of one hour pior to the day of their examination. Bookings of the Heinze Room for rehearsals should be arranged with the Faculty Office.

Practice is allowed on a casual basis (i.e. no advance bookings are possible) between 8 a.m. and 9 a.m. from Monday to Friday, except on days when performance examinations have been scheduled.

If a piano is found locked by a student with a prior booking, a key is available from the Building Supervisor or the Dean's Office. The key should be returned fnfnediatelti the piano has been opened.

PRACTICE ROOMS When not already booked for teaching or formal examination practice, Tallis Wing as well as Room 206 are available to students for practice. A number of practice rooms in the basement of the new Zoology Building are available. No advance bookings are required for the use of these rooms.

68

MUSIC STUDENTS SOCIETY The Music Students' Society is a student organization which plays a vital part in the life of the Faculty. The Society annually elects a committee which includes yearly representatives on Faculty, Curriculum Committee and the Departmental Committee. The Society has three broad objectives: (a) to taise between staff and students; (b) to concern itself with any matter which is of interest to members in their study of music; (c) to organize activities (social, musical, etc.) to help provide a broader outlook on music and

education.

The Society plays an especially active and important part during Orientation Week in advising new students and introducing them to their new environment, and organizes the annual Student Music Week. Students wishing to play a part in the running of the Soci е t у or needing further information, should contact the Music Students' Society, Faculty of Music

69

SECTION 8: EXHIBITIONS, SCHOLARSHIPS, PRIZES AND FINANCIAL ASSISTANCE

The following table gives a summary of awards available to Faculty of Music students. More detailed information regarding these awards can be obtained trom the University standing Resolutions of Council (Chapter 6 of the Regulations of 'Announcements Section) when applicable or from the Assistant Registrar (Music).

TABLE 1 - AWARDS AVAILABLE TO MUSIC STUDENTS Unless otherwise indicated, these scholarships are allocated by the Faculty on the basis of examination results in the previous year. Their monetary value varies from year to year.

NAME ELIGIBLE CALENDAR REF. OR INFORMATION

SOURCE

Mona McCaughey Scholarships: (a) Mona McCaughey vocal studies students R.6.127

Scholarship- (b) Elise Wiedermann vocal studies students R.6.127

Scholarship' (c) Una Boume pianoforte students R.6.127

Scholarship'

Walter Kirby Singing vocal studies students R.6.59 Scholarship

C.D. Hume Violin violin students 8.6.78 Scholarship'

T. Allan McKay full course or single study Pianoforte Scholarship students of pianoforte

R.6.82

Muriel Cheek full course or single study Memorial Scholarship students of singing

R.6.81

Allan Scholarship full course students of piano. Preference to students whose permanent home is within a 50-mile radius of Horsham

Fł .6.158

Eric and Unda Jullyan full course students entering third Memorial Scholarship or fourth year who show promise

worthy ot development

R.6.136

R.6.119 M. and E. leefford Scholarship'

full course or single study students who are children of British subjects by hinh

'Awarded on the basis ol financial needs rather than academic results.

Cla ń ce Malyon any female student of singing Middleton Scholarship

R.6.72 (65)

F W lomewood students of pianoforte who are Memoń al Scholarship graduates ot not more than five

years standing

R.6.56

Doris F Chandler

piano students who have completed R.6.72 (91) Memoň al Bursary

4th year and have a proposal for for further studies

Grace Funston Scholarship"

undergraduate or graduate student under 25 years of age

R.6.72 (92)

Herbert Davis

full course students or organ Award

in first or second year

Rosemary Kenny Prize pianoforte students entering final year of degree course

Asst.Registrar (Music)

R.6.15

R.6.72 (35)

R.6.72 (24)

The Wright Prize second year students

The laude Н ardngtоп students of the Faculty; for Prize (books) pianoforte accompaniment

students of the Faculty

students of the Faculty

Florence Bradford Scholarships


Ormond Exhibitions (4) and Cпп ond Scholarship

students of the Faculty, for overall excellence in all areas of the course

R.6.10

Music Lovers Society Bursary


70

Alberto Zelman full course or single study R.6.141 Violin Scholarship students of violin

Florence Menk Meyer pianoforte students entering final Asst.Registrar Prize year of BMus course (Music)

Bertha Jorgensen

students of violin in third or R.6.71 (79) Exhibition

fourth year of degree course (non-renewable)

Allans Award

pianoforte students in the fourth R.6.72 (79) (music scores)

year of the degree course

Financial needs as well as academic resules are taken into account.

string players in the fourth year R.6.72 (87) of the degree course

Peg Oldfield Prize

Ivy May Pendlebury Bursaries'

Anglican students of the Asst. Registrar Faculty (Music)

all students of the Faculty R.6.72 (36) Schubert Bursary'

Catherine Grace Mc William Prize

students in fourth year of the R.7.125 degree course

William Bardsley Award'

students of violin R.6.72A (5)

NAME ELIGIBLE AWARDED

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Faculty Entrance Asst.Registrar Exhibition (Music)

Lady Turner Prizes (2) first year students R.6.72 (17) (books)

Lady Turner Exhibitions all students of the Faculty; for R.6.133 (5) overall exceilence in all areas of

the course

Nellie Melba Prize second year students Asst.Registrar (Music)

Bergstrand Prize third year students in the B.Mus.Ed. Asst Registrar degree (Music)

TABLE II - TRAVELLING SCHOLARSHIPS

Applications should be made following publication of a notice.

Welsford Smithers music graduates wishing to from time to time Travelling Scholarship continue their studies overseas Refer R.6.153

Nidoson Travelling Scholarship

holder of a degree or diploma in music from any Victorian university who is under 30 years of age

not more often than every two years. Refer R.6.140

Lizette Bentwitch graduates in Music or Arts Scholarship

in biennial periods alternating with the Faculty of Arts.

Refer 8.6.98

72

SECTION 9: В OO К LISTS

Below are listed the books, scores and other publications set or recommended for the varous subjects. The arrangement of subjects follows that of the Details of Subjects section, i.e. alphabetical order within the two categories, • Subjects first available in 1989, 1990 or 1991, and • Subjects existing pior to 1989 Only those subjects and units for which booklists have been supplied are listed below. The Faculty noticeboards should be consulted at the beginning of the academic year for any changes to the booklists. An asterisk at the beginning of an entry indicates that the publication is an essential text or reference and should be in the possession of students.

SUBJECTS FIRST AVAILABLE IN 1989, 1990 OR 1991

YEAR 1

740-108 AURAL TRAINING 1 Kodaly Z 333 Reading Exercises 1972 Boosey & Hawkes

740-118 MUSIC HISTORY 1-1 and 740-119 MUSIC HISTORY 1-2 Abraham G ed The New Oxford History of Music OUP Austin W Music in the Twentieth Century 1966 Norton В rindlе R S The New Music 1975 OUP Brown H M Music in the Renaissance 1976 Prentice-Hall Canti G Music in the Middle Ages Voll 1984 Cambridge Cooke D The Language of Music 1962 OUP Davison A & W Apel eds Historical Anthology of Western Music 2 vols 1949-1950

Harvard UP Gallo F A Music of the Middle Ages Vo12 1985 Cambridge Griffiths P A Concise History of Modem Music 1978 Thames & Hudson Griffiths P Modem Music: The Avant-Garde since 1945 1981 Dent Grout D J A Short History of Opera 2nd edn 1965 Columbia UP 'Grout D J & C Palisca A History o! Western Music 4th edn 1989 Dent Hoppin R H Medieval Music 1978 Norton Longyear R Nineteenth Century Romanticism in Music 1969 Prentice-Hall * Ра iscа C V ed Norton Anthology of Western Music: Vol I Medieval, Renaissance,

Baroque; Vol ii Classic, Romantic, Modern 2nd edn 1989 Norton Palisca C V Baroque Music 2nd edn 1981 Prentice-Hall Pauly R G Music in the Classic Penod 2nd edn 1973 Prentice-Hall Pelle G Seri а l Composition and Atonality 5th edn 1981 UCLA Press Platinga L Romantic Music 1984 Norton Reese G Music in the Renaissance 1954 Dent Rosen C The Classical Style 1973 Faber Salzman E Twentieth Century Music: An Introduction 1967 Prentice-Hall Strunk O ed Source Readings in Music History Norton Tovey D F Essays in Musical Analysis, Vols l-6 OUP Whittall A Music since the First World War 1977 Dent

PRESCRIBED SCORES 'Bach St Matthew Passion Eulenberg 'Beethoven Symphony No3 in C minor Eulenberg 'Josquin Missa Pange Lingua Kalmus Study Score 'Stravinsky The Rite of spring Boosey & Hawkes

73

740-128 MUSIC TEC Н NIOUES 1-1 'Bach J S 351 Harmonized Chorales and 69 Choral Melodies ed Albert

Riemenschneider 1941 Schirmer Ottman W Elementary Harmony 3rd edn 1983 Prentice-Hall Piston W І-Іа rmoпу 4th edn 1977 Norton Reynolds W & G WaitieId Common-Practice Harmony 1985 Longman Spencer P The Practice of Harmony 2nd edn 1990 Prentice-Hall Winold A Harmony: Patterns and Principles 1986 Prentice-Hall

740-129 MUSIC TECHNIQUES 1-2 Boyd M Bachs Instrumental Counterpoint 1967 Barrie & Rocklift Keller H Thoroughbass Method 1965 Norton Kenfan K Counterpoint 3rd edn 1977 Prentice-Hall

PRESCRIBED SCORE 'Bach J S 152-part Inventions

YEAR 2

740-208 AURAL TRAINING 2 'Kodaly Z Ffteen Two-Part Excercises 1952 В oosey & Hawkes 'Leganyne H E Collections of Bach Examples Vol 1 1971 Edith° Musica Budapest

740-250 MUSIC HISTORY 2A - KEYBOARD MUSIC Apel W The History of Keyboard Music to 1700 Indiana U Press Kirby F E A Shod History of Keyboard Music The Free Press Matthews D ed Keyboard Music David & Charles Wolff K Masters of the Keyboard Indiana U Press Williams P A New History of the Organ Indiana U Press Bach CPE Essay on the true Art of playing Keyboard Instruments Cassell Тйг k OG School of Clavier Playing U of Nebraska Press

740-251 MUSIC HISTORY 28 - CHAMBER MUSIC Arnold D & N Fortune ed The Beethoven Companion 1971 Faber & Faber Barrett-Ayres R Joseph Haydn and the String Quartet 1974 Bane & Jenkins David HT JS Bach 's Musical Offering History, Interpretation, and Analysis 1945

Schirmer rpt 1972 Dover Griffiths P The St г i п g Quartet 1983 Thames & Hudson Hogwood C The Trio Sonata 1979 BBC Horton J Mendelssohn Chamber Music 1972 BBC Hughes R Haydn siting Quartets 1966 BBC Kerman J The Beethoven Quartets 1966 OUP Kerman J The Elizabethan Madrigal 1962 American Musiс ilogical Society Keys I Brahms Chamber Music 1974 BBC Hyatt King A Mozail Chamber Music 1968 BBC Lam B Beethoven String Quartets 1975 BBC Robbins Landon IC & D Mitchell eds The Mozart Companion 1969 Norton Newman WSThe Sonata in the Baroque Era 3rd edn 1972 Norton Roche J The Madrigal 1972 Scribner Sadie S ed The New Grove Dictionary of Music and Musicians 1980 Macmillan Ulrich H Chamber Music The Growth & Practice of an Intimate Art 1948 Columbia U

Press Walsh S Batldk Chamber Music 1982 BBC Westrup JA Schubert Chamber Music 1972 BBC Whittall A, Schoenberg Chamber Music 1972 BBC Wolff C ed The Stń ng Quartets of Haydn, Mozart, and Beethoven Studies of the

Autograph Manuscripts 1980 Harvard

74

740-253 MUSIC HISTORY 20 - OPERA Kerman J Opera as Drama 2nd edn Faber Robinson P Opera & Ideas Harper & Row Grout DJ A short History of Opera Columbia U Press Sadie S ed Opera Macmillan Mozart The Marnage of Figaro Dover or Eulenburg Wagner Tristan and Isolde Dover or Eulenburg Berg A Wozzeck Dover or Eulenburg

740-228 MUSIC TECHNIOUES 2-1 Andrews HK The Oxford Н arr onу vol 2 1961 OUP Кеппап KW Counterpoint 1977 Prentice-Hall Kenian KW Counterpoint Workbook 1977 Prentice-Hall Kenian KW The Technique of Orchestration 1952 Prentice-Hall Piston W Нагпюпу 1983 Gollencz Spencer P . The Practice of Harmony 1983 Prentice-Hall

740-229 MUSIC TECHNIQUES 2-2 Smith B ń ndle R Serial Composition 1966 OUP

740-227 COMPOSITION 1 Appleton J & R Perera ed The Development and Practice of Electronic Music 1975

Prentice-Hall Anderson C MIDI for Musiaans 1986 Amsco Pub Co

740-236 PRACTICAL STUDY 2 Experimental Teaching Project The Enjoyment of Music Through Group Activity 1975

MUP

471-250 PHILOSOPHY OF EDUCATION M Barrow R & R Woods An Introduction to Philosophy of Education 2nd edn 1982

Methuen Dewey J The Child and the Curriculum and the School and Society 1956 Phoenix

Books Hanslick E On the Musically Beautiful 1891 Tr Geoffrey Payzant Hackett 1986 Hirst P Knowledge and the Curriculum 1974 Routledge & Kegan Paul Hospег s J Human Conduct shorter edn 1972 Harcourt Brace Jovanovich Neill AS Summerhill 1974 Penguin Sullivan JWN Beethoven, His Spiritual Development 1964 Unwin Snook IA ed Concepts of Indoctrination 1972 Routledge & Kegan Paul

740-240 TECHNIQUES IN MUSICIANSHIP Dennis B Experimental Music in Schools OUP Marsh MV Explore and Discover Music Macmillan Paynter J & P Aston Sound and Silence OUP Paynter 'l Hearaud Now CUP Reimer B A Philosophy of Music Education 1970 Prentice-Hall Schafer M The New Soundscape, Ear Cleaning, The Composer in the Classroom Bil Schafer M When Words Sing Berandol Schaler M The Rhinoceros in the Classroom 1975 Universal No 26922 Schafег M ed The Music of the Environment 1973 Universal No 26751 Self G New Sounds in Class Aural Adventure Universal Swaп wi* K A Basis for Musical Education 1979 NFER London

75

YEARS 3 AND 4

740-112 ACOUSTICS 'Backus J The Acoustical Foundations of Music 2nd edn Norton, or 'Rossing T D The Science of Soип d 1st edn Addison Wesley Roederer J G Introduction to the Physics and Psychophysics of Music 2nd edn

Springer Fletcher N Physics and Music Heinemann Educ Aus Hutchins C M The Physics of Music Soentitic American

740-458 ADVANCED 7ECNNIOUES IN MUSICIANSHIP Bitcon C Alike and Different 1976 Rosha Press Bonny H & L Savary Music and Your Mind 1973 Harper & Row Boxill E Music Therapy for the Oev в lopп e п tally Disabled 1985 Pro-ed (Austin, Texas) Bright R Music in Genatic Care 1980 Musicgraphics Bright R Practical Planning in Music Therapy for the Aged 1981 Musicgraphics Bruscia K E Improvisational Models of Music Therapy Chas Thomas Springfield Bumside I ed Working with the Elderly: Group Process and Techniques 1976

Duxbury Clark C & D Chadwick Clinically Adapted Instruments for the Multiple Handicapped

1980 Magna-music Baton Dass R & P Gomnan How can I help? 1985 Alfred Knopf Dustin R & R George Action Counselling for Behavioural Change 2nd edn 1977 Carol

Press Eagle C T ed Music Therapy Index voll 1976 Nat Assoc Mus Therapy Eagle C T ed Music Psychology Index volt 1978 Inst For Therapeutics Research Eagle C T ed Music Psychology Index vola 1980 Oryx Press Egan G The Skilled Helper 3rd edn 1986 Brooks Cole Gelineau P Songs in Action 1974 McGraw-Hill Graham RI & AS Beer A S Teaching Music to the Exceptional Child 1980 Prentice-

Hall Gray V & R Percival Music, Movement and Mime for HandiØped Children 1962 OUP Laban R Mastery of Movement 2nd edi 1966 McDonald & Evans Nordoff P & C Robbins Childress Songs vols 1-5 Theodore Presser Nordoff P & C Robbins Creative Music Therapy 1977 John Day Nowicki & Trevisan Beyond the Sound: A Technical and Philosophical Approach to

Music Therapy 1977 Magna-music Baton Orff G The Ord Music Therapy 1974 Schott 'Plath T The Creative Use of Music in Group Therapy Chas Thomas Sprngfield Purvis J & S Samet Developmental Music Therapy 1976 University Park Press Robbins C & C Music for the Hearing Impaired and Other Special Groups 1980 Magna-

music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories M а gпа -

music Baton Schulberg The Music Therapy Sou гее bоо k 1981 Human Sciences Press NY Sebha J Playalong Songs 1986 Hamish Hamilton Sherrill C Creative Arts for the Severely Handicapped 1979 Chas Thomas Ulverscroft Large Print Song Book Vols 1 & 2 Ulverscroft Leicester 1981 Ward D Hears and Hands and Voices 1976 OUP Ward D Sing a Rainbow 1979 OUP

PERIODICALS Journal, National Association for Music Therapy Washington US Journal, American Association for Music Therapy 1981 Springfield NJ Journal, British Society for Music Therapy UK Proceedings, Annual Conferences, Aust Music Therapy Associations 1975- Music Therapy Perspectives, National Association for Music Therapy Washington US Australian Journal of Music Therapy AITA

76

740-364 APPLICATIONS OF Music IN THERAPY Веа l M & J Gilbert Music Curriculum Guidelines for Moderately Retarded Adolescents

Chas Thomas 1982 Bright R Music Therapy and the Demential 1988 ММВ Horizon Series В ruscia K Defining Music Therapy Barcelona Pub (Phoenixville PA) 'Gaston ET ed Music in Therapy 1968 Macmillan 'Hargreaves DJ The Developmental Psychologyotlusic CUP 'Judge C Retarded Australians 1975 MUP Ali J Music for the Handicapped Child 1965 OUP Alvin J Music Therapy for the Autistic Child 1978 OUP Alvin J Music Therapy 2nd edn 1974 Basic Books NY Benenzon R Music Therapy Manual 1981 Chas Thomas Benenzon R Music Therapy in Child Psychosis 1982 Chas Thomas Bright R Music in Geriatric Care 1980 Musicgraphics Bright R Grieving: A Handbook for those who care 1986 ММВ Music Critchey Mac & Henson eds Music and the Brain Studies in the Neurology of Music

1977 Heinemann Famham-Diggory Learning Disabilities 1978 Fontana Ford B The Elderly Australian 1979 Penguin Graham RI ed Music for the Exceptional Child 1975 Mus Ed Nat Coп l Н anser S Music Therapist's Handbook Warren Green lodder P & A Turey The Creative Option of Palliative Care 1989 Melbourne City

Mission Jorn AF Understanding Senile Dementia Croom Helm Kenny C The Mythic Artery 1982 Ridgeview Pub USA Knout R Music Therapy in Special Education 1986 ММВ Horizon Series Kul er-Ross E On Death and Dying 1969 Macmillan Madsen C Music Therapy: A Behavioural Guide for the Mentally Retarded 1981

Magna-music Baton Maslow A H Toward a Psychology of Being 2nd edn Van Nostrand Reinhold Michel D Music Therapy 2nd edn 1985 Chas Thomas McInnes t & J Trefrey Development Guide 1982 Open University Press Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-music Baton Nordofl & Robbins Creative Music Therapy 1977 John Day Nordoff & Robbins Music Therapy in Special Education 2nd edn 1983 Magna-music

Baton Priestly M Music Therapy in Action 1975 Constable Robbins C & C Music for the Hearing Impaired and Other Special Groups 1980 Magna-

music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories 1980

Magna-music Baton Safilios-Rothschild C The Sociology and Social Psychology of Disability and

Rehabilitation 1970 Random House Sainsbury M J Key to Psychiatry 3rd edn 1988 Aust & NZ Book Co Taylor RL& L Sternberg Exceptional Children 1989 Springer-Verlag Tyson C Psychiatric Music Therapy 1982 Magna-music Baton Wilson F & Roehmann F Music and Child Development MMB Proceedings of 1987

Biology of Music Making Denver Congress

740-459 CLINICAL PRACTICE IN MUSIC THERAPY Adams G Essentials of Genatric Medicine 1977 OUP Sleds & Nagel Physically Handicapped Children - A Medical Atlas for Teachers 1975

Grune & Stratton Boxill E Music Therapy for Living: The Principle of Normalisation Embodied in Music

Therapy 1988 lIB Horizon Sedes Boyle M & R Krout Music Therapy Clinical Training Manual 1988 ММВ

Butler RN & MI Lewis Ageing and Mental Health 3rd edn 1982 Mosby 'Davies B Introduction to C ď nical Psychiatry 1968 MUP 'Dň lliеп & Drummond Nsumchvebpmmts1 Problems in Early Childhood 'Ford B The ElderlyAustralian 1979 Penguin Greenberg SF & PJ Valletutti Stress and the Helping Professions 1980 Paul H

Brookes Holle B Motor Devlopment in Children - Normal and Retarded 1976 Blackwell Scientific

77

Holt KS Developmental Paediatrics 1977 Butterworths Illingworth R The Normal Child 7th edn 1979 Churchill Ů vingstone 'Judge C RetardedAustralians 1975 MUR Kubier-Ross E On Death and Dying 1969 McMillan Mace NL & PV Rabins The 36-Hour Day 1981 Johns Hopkins Press Miller BF & CB Keane Encyclopaedia and Dictionary of Medicine and Nursing 1972

Saunders Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-Music Baton Sainsbury MJ Key to Psychiatry 3rd edn 1988 Aust & NZ Book Co Yalom The Theory and Practice of Psychotherapy

REFERENCES Furman C Ed Etfectiueness of Music Therapy Procedures: Documentation of

Research and Clinical Practice 1988 NAMT Masden C A Behavioural Guide for the Mentally Retarded 1981 MIB Priestley M Music Therapy in Action 2nd edn 1985 ММВ

COMPOSITION STUDIES Cope D New Music Composition 1977 Schirmer Cope D New Directions in Music Brown 4th edn 1987 WC IOWA Dallin L Twentieth Century Composition 1974 Brown

740-327 COMPOSITION 2 Anderton C MIDI for Musicians 1986 Amsco Pub Co Milano D ed Multi-Track Recording 1986 Hall Leonard Publishing Manning P Electronic & Computer Music 1987 Clarendon Press

740-427 COMPOSIТ ION 3 Emmerson S ed The Language of Electroacoustic Music 1986 MacMillan Press Rona J MIDI , the Ins, Outs and Thrus 1988 Hall Leonard Publishing

471-451 CURRICULUM STUDIES Besson Tartaranus & Forcucci Teaching Music in Today's Secondary Schools 1974

Hall Rinehart & Winston Hoffer C R Teaching Music in the Secondary Schools 2nd edn 1973 Wadsworth Calif Thomas R B ed Manhattanville Music Curriculum Programme Synthesis 1970 Media

Inc NY Paynter J & Aston P Sound and Silence 1970 CUP Regelski T A Principles and Problems of Music Education 1975 Prentice-Hall Reimer B A Philosophy of Music Education 1970 Prentice-Hall Bontinck I ed New Patters of Music Behaviour 1974 Universal Dennis B Experimental Music in Schools 1970 OUP . Dwyer T Progressive Scores 1971 OUP Paynter J Hear and Now 1972 Universal Paynter J Music in the Secondary School Curriculum 1982 CUP Salaman S Living Scho о l Music 1983 CUP Schafer R M Ear Cleaning 1967 BMI Schafer R M The CoØserin the Classroom 1965 BMI Schafer R M When Words Sing 1970 BMI Self G Aural Adventure 1969 Novelli Self G New Sounds in Class 1967 Universal Lind . Swanick K A Basis torlusic Education 1979 NFER Publishing Swaп ick K & D Taylor Discovering Music 1982 Batsford Academic Taylor D Music Now 1979 Open University Press Vulliamy G & E Lee Popular Music: a teachers guide 1982 Routledge & Kegan Paul Vulliamy G & Lee E Pop Rock and Ethnic Music in School 1982 CUP

78

720-933 EDUCATIONAL PSYCHOLOGY M 'Biggs J В & R Tе tt ег The Process of Learning 2nd edn 1987 Prentice-Hall 'Mussen P H et al Child Development and Personality 6th edn 1984 Harper & Row

740-460 INFLUENCE OF MUSIC ON BEHAVIOUR Borg W Applying Education Research 1981 Longman Campbell D introduction to the Musical Brain 1984 ММВ Chritchley I & R Henson Music and the Brain: Studies in the Neurology of Music 1977

Heinemann dynes M ed: Music Mind and Brain : The Neuropsychology of Music 1982 Plenum

Press Davies JВ Psychology of Music Hutchinson 1978 Radocy R & D Boyle Psychological Foundations of Music Behaviour 1979 Thomas Hargreaves D The Developmental Psychology of Music 1988 CUP Kidder L Research Methods in Social Relations 4th edn 1981 Hott Saunders Meyer LB Emotion and Meaning in Music 1958 U Chic Press Scartelli J Music and Self-Management Methods: A Physiological Model ММВ Ho ń zon

Series

740-356/456 INTRODUCTION TO ELECTRONIC MUSIC Anderton C Midi lor Musicians 1986 AØ Publications Appleton J & R Perera eds The Development and Practice of Electronic Music 1975

Prentice-Hall Orton R ed Electronic Music fог Schools 1981 CUP Schrader B Introduction to Electro-acoustic Music 1982 Prentice-Hall

740-3441444 INTRODUCTION TO MUSIC ANALYSIS Bent I Analysis 1986 MacMillan Cook N A Guide to Music Analysis 1987 Dent Dunsby J & A Whilhat Music Analysis in Theory and Practice 1987 Faber Forte A & S Gilbert Introduction to Schenkerian Analysis 1982 Norton Kramer JD The Time of Music 1988 Schirmer Lester J Analytic Approaches to Twentieth-Century Music 1989 Norton Schoenberg A Fundamentals of Musical CoØsition 1967 Faber & Faber

740-339/449 MUSIC CRITICISM Beardsley M ed On Criticising Music John Hopkins U Bujic В Music in European Thought CUP Keller H Critiasm Faber Kerman J Musicology Fontana Le Huray P ed Music and Aesthetics CUP Strunk O Source Readings in Music History Vol v Faber Treitler L Music and the Histoń cal Imagi п atioп Harvard Tsugawa A The Idea of Criticism Barrie & Rockditt

740-350 MUSIC HISTORIOGRAPHY Allen WD Philosophies of Music History Dover Can El What is History? 1961 Penguin Dahlhaus C Foundations of Music History CUP Westrup JA An Introduction to Music History 2nd edn 1973 Hutchinson

740-351/451 MUSIC IN AUSTRALIA Covell R Australia's Music - -themes of a new society 1967 Sun Books Hannan M Peter Scunthorpe - His Music and Ideas 1929- 1979 1982 OUP Jenkins J 22 Contemporary Australian Composers 1988 NMA Publications

79

740-3521452 MUUSIC IN THE MIDDLE AGES Apel W The Notation of Polyphonic Music 900-16001953 Medieval Academy of

America Cattin G Music In the Middle Ages 1 1984 CUP Gallo FA Music in the Middle Ages 111984 :CUP Hoppip R Medieval Music New York: 1978 Noun Hughes A Medieval Music: The Sixth Liberal Art 1980 Benn Palisca C Norton Anthology of Western Music 1 2nd edn Norton 1988

740-3531453 THE MUSIC OF SPAIN Chase G The Music of Spain 1959 Norton Femández de La Cuesta I et al Historia de la М úsica Е sparlol а 7 vols 1983 Alianza Livermore A A Short History of Spanish Music 1972 Duckworth Powell L A History of Spanish Piano Music Indiana UP 1980 Stankie W Spain, A Musician's Journey through Time and Space 2 vols 1958 Edisli

740-359 MUSICOLOGICAL RESEARCH METHOD Barzun J & HF Graft The Modern Researcher 3rd edn 1977 Наг coun Brace & World Gibaldi J & Achtert MLA Handbook 1980 Modern Language Association Pruett HJW & TP Slavens Research: Guide to Musicology Amencan Library Assoc

740-3371437 MUSIC PALEOGRAPHY Apel W The Notation of Polyphonic Music, 900-1600 1953 Medieval Academy of

America Parrish C The Notation o1 Medieval Music 1978 Pendragon

740-3411441 MUSIC SINCE 1960 Cage J Silence 1973 Wesleyan UP Griffiths P Modern Music: The Avant Garde since 1945 1981 Dent Henze HW trans P Labanyi Music and Politics 1982 Faber & Faber Jenkins John 22 Australian Composers 1988 NIA Publications Salzman Eric 20th-Century Music 3rd edn 1988 Prentice Hall

740-3431443 PERFORMANCE PRACTICE AND ORGANOLOGY Donnington R The Interpretation of Early Music New Version 1974 London Quantz J J On Playing The Flute Schirmer Sadie S ed The New Grove Dictionary of Musical Instruments 1984 MacMillan

720-022 PHILOSOPHY OF EDUCATION M Barrow R & R Woods An Introduction to Philosophy of Education 2nd edn 1982

Methuen Dewey J The Child and the Curriculum and the School and Society 1956 Phoenix

Books 'Hanslick E The Beautiful in Music 1957 Liberal Arts Press or 1974 Da Capo Hirst P Knowledge and the Curriculum 1974 Routledge & Kegan Paul Hospe г s J Human Conduct shorter edn 1972 Harcourt Brace Jovanovich Neill A S Summerhill 1974 Penguin Sullivan J W N Beethoven, His Spiritual Development 1964 Unwin Snook I A ed Concepts of Indoctrination 1972 Routledge & Kegan Paul

во

740-365 PHYSIOLOGY FOR MUSICIANS Carlson N Physiology of Behavior зг d edn 1986 Allyn & Bacon Spence A & E Mason Human Anatomy and Physiology 3rd edn 1987 Benjamin

Cummings

171-100 PSYCHOLOGY 1 Refer to Faculty of Arts Course & Subject Guide

171-211 PSYCHOLOGY 2М Refer to Faculty of Arts Course & Subject Guide entry for 171-201 Psychology 2

740-3251425 RENAISSANCE MUSIC Bent M Dunstable 1981 OUP 'Brown H M Music in the Renaissance 1976 Prentice-Hall Brown H M Embellishing 16th-Cе ntuгу Music 1976 OUP Brown H M Music in the French Secular Theater 1400-1550 1963 Harvard UP Follows D Dutay 1982 Dent Reese G Music in the Renaissance 1954 Dent Reese G et at The New Grove High Renaissance Masters 1984 Macmillan Roche J The Madrigal 1972 Hutchinson Strunk O ed Source Readings in Music History: ii The Renaissance 1965 Norton

740-3221422 RENAISSANCE INSTRUMENTAL MUSIC Apel W The History of Keyboard Music to 1700 1972 Indiana UP Brown HM Instrumental Music Primed before 1600: a Bibliography 1967 Harvard Brown HM Music in the Renaissance 1976 Prentice-Hall

740-327/427 SCHEN К ERIAN ANALYSIS Beach D Aspects of Schenkerian Theory 1983 Yale UP Cook N A Guide to Musical Analysis 1987 Dent Forte A & S Gilbert Introduction to Schenkeгі an Analysis 1982 Norton Salzer F Structural Hearing 1962 Dover Schenker H Free Composition 1979 Longman Schenker H Five Graphic Music Analyses 1969 Dover

740-328/426 THE SECOND VIENNESE SCHOOL Jannan D The Music o1 Alban Berg 1970 Faber & Faber Leibowitz R trans D Newlin Schoenberg and His School 1970 Da Capo Moldenhauer H & R Anton Webern 1979 Knopf Pe le G The Operas o1 Alban Berg Vol 1 &2 1985 U of California Press Perle G Seal Composition and Atonality 5th edn 1981 U of California Press Rognoni L trans RW Mann The Second Vienna School 1977 Calder Schoenberg A Style and Idea 1975 Faber & Faber

720-044 SOCIOLOGY OF EDUCATION M Connell R et al Making the Difference 1982 Allen & Unwin Spender D Invisible Women 1982 Writers & Readers

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SECTION 10 - POSTGRADUATE STUDIES

10.1 UNIVERSITY GENERAL PRINCIPLES OF SELECTION FOR ENTRY TO POSTGRADUATE COURSES

1. Preamble

1.1 Applicability

These principles shall not apply to such postgraduate courses under the direct control of the Academic Board as the Academic Board may prescribe from time to time.1

1.2 Selection Committee

1.2.1 There shall be a selection committee for entry to each postgraduate course consisting of the Dean of the Faculty concerned, or a person nominated by the Dean and such other members as may be appointed by the Faculty. If any member of a selection committee is unable to act, the Dean of the Faculty may approve the appointment of a substitute, on behalf of the Faculty concerned.

1.2.2 A selection committee shall identify those applicants to whom offers shall be made for places available for that course.

1.2.3 A selection committee shall make its decisions by the vote of a majority of the members present and voting and shall report those dedsions to the Faculty as soon as possible.

1.3 Applications

1.3.1 Applicants for selection should submit applications on the appropriate form by the date prescribed or by such closing date as may be prescribed for the receipt of late applications?

1.3.2 No application for selection lodged atter such closing date shall be considered unless the selection committee concerned is satisfied that special circumstances exist which justify a late application.

1.4 Special and General Principles

1.4.1 Special principles of selection for any Faculty may be approved by Council on the recommendation of the Academic Board.

1.4.2 Except Insofar as is provided by general principles of selection, those special principles shall not conflict with the general pň nć ples.

1.5 Eligibility

Except as otherwise provided in special principles of selection, applicants for selection to the first or later years of a postgraduate course must have: (a) satisfied the University entrance requirements; (b) satisfied any prerequisite or entry requirements for, and the provisions of any regulations applicable to, the course for which selection is sought;

1 Pursuant to Statute 2.3 (The Academic Board). the Acadет ic board exercises the powers arid performs the duties of a Faculty lor all courses not pertaining to any Faculty. The Master of Business Administration course and the Doctor of Philosophy course ara under the direct control of the Academic. Board and. in respect of these courses, the Board is deemed to be a Faculty within the meaning of these General Principles of Selectan. The Board has prescribed that these General Principles of Selection shall not apply to entry to the Doctor of Philosophy course. .

Makes provision for special principles to be proposed. 2 Such dates, if any, may be prescribed in special principles of selection or by notification in the relevant Handbook for the course concerned.

82

(c) successfully completed, to a standard satisfactory to the appropriate faculty, courses of study which, in the opinion of the faculty, are equivalent to those for which standing or credit is sought; and (d) complied with any requirements for eligibility contained in spedal principles of selection for the course for which selection is sought.

1.6 Level of Entry (Applicable only to postgraduate courses which are divided into years.)

1.6.1 The selection committee shall consider applicants for selection at the year or level of the course which is determined in accordance with the relevant course regulation and any working rul е s3 of the Faculty.

1.6.2 To the extent necessary to establish the year or level for which an applicant is to be considered for selection, credit to be granted for work done in other courses may be determined in aØrdance with Regulation 3.3 and any working rules, if the Faculty has not provided otherwise for such a determination.

1.6.3 Unless the applicant has specified otherwise, any applicant found to be ineligible for selection at a particular level shall be considered for selection at the highest level for which the applicant is eligible.

2. Selection

2.1 Pursuant to the following principles and to any special principles approved by Council, the selection committee shall identify those eligible applicants who are considered most likely to pursue successfully the course concerned. Such applicants shall be ranked by the selection committee and places shall be offered in accordance with such ranking until the places available4 have been filled.

2.1.1 Selection shall be based primarily on academic merit as judged by reference to the whole academic record of the applicant.

2.1.2 In establishing the relative likelihood of success of any applicant, a selection committee may, at its discretion, take into account:

(a) the age of an applicant when completing part of or all of a course of study relied on as qualifying the applicant for admission and the period of time which has passed since completion of those studies; (b) any illness, war or military service, or serious hardship as a result of which the studies or examination performance of an applicant have, in the opinion of the committee, been adversely affected; (c) physical handicaps or disabilities; (d) reports from persons with relevant professional qualifications, where those reports may assist the selection committee in evaluating the effect of factors referred to in paragraph (b) or (c); (e) the applicant's reasons for wishing to pursue the course; (f) any work or research experience which, in the opinion of the selection committee, may be relevant to the proposed course of study; '(g) any other matters specified in the special principles of selection of the course for which selection is sought.

2.1.3 A selection committee may conduct interviews to elucidate the matters referred to in section 2.1.2 above or for such purposes as may be provided for in special principles of selection.

2.1.4 A selection committee shall take into account any relevant w ń tten information submitted by an applicant.

3 Where working rules are used, a ooру may be obtained from the Assistant Registrar of the Faculty concerned.

4 Places available shall be determined by Council in accordance with resolutions agreed by Council trom time to time and notified in terms of target figures, quotas or sub-quotas of Weighted Students Units attributable to postgraduate students, reserved for each Faculty or postgraduate course of the University, as the case may be.

83

2.1.5 A selection committee may conduct written or other tests for such purposes as may be provided for in special principles of sе lectioп .

2.1.6 A selection committee may also take i lo account any special pri nciples of selection or other factors approved by Council on the recommendation of the Faculty concerned.

2.2 A selection committee shall select a candidate only if it is satisfied that the Faculty can arrange for the adequate supervision of the candidate and can provide, or arrange access to, adequate facilities for the support of that candidate.

3. Conditional selection

Pursuant to Regulation 3.3, section 1(1), special principles of selection may provide for the imposition of conditions subject to which admission may be granted.

4. Reservation of Places In Quotas (Deferment)

4.1 Special principles may provide that for applicants who have been selected for a course, a place in the succeeding years quota shall be reserved, provided that a Faculty may fix the number of places to be reserved in any year.

4.2 The selection of an applicant to a course in the year for which selection is principally being made shall not be prejudiced by an application for reservation of a place in the succeeding year's quota having been made prior to or at the time of accepting the offer of a place.

4.3 Where an applicant has been granted a deferred place pursuant to paragraph 4.1, the applicant shall notify the faculty concerned by the date specified by the faculty:

(a) whether or not the place so reserved will be taken up in that succeeding year; (b) whether a further deferment for a second year is sought.

A selection committee may, after considering such evidence and conducting such interviews as it thinks flt, and subject to any special principles of selection, grant a deferred place for a second period of one year.

84

10.2 STANDING RESOLUTIONS OF COUNCIL FOR MUSIC DEGREES -POSTGRADUATE

STANDING RESOLUTION OF COUNCIL 3.122 - GRADUATE DIPLOMA IN MUSIC THERAPY

1 A person may be a candidate for the graduate diploma in Music Therapy who. (а ) (I) is a graduate in Music of the University; or

(ii) holds a degree of another university or tertiary educational institution which is recognised by the Faculty of Music (-the Faculty") pursuant to Statute 11.1.6 as appropń ate for the purposes of this standing resolution; or

(ii) has an equivalent quakflcalion which is recognised by the Faculty as evidence of adequate training for the purposes of this standing resolution; and

(b) has obtained the consent of the Faculty.

2 . A candidate who, after being admitted as a carddate, has - (a) pursued a course of advanced studies for at least one academic year as a

full-time student; (b) attended lectures and classes, including those held during any part of a

recess or vacation, as prescribed by the Academic Board on the recommendation of the Faculty and published with the details of subjects; and

(c) completed to the satisfaction of the examiners the prescribed assessments;

may be granted the Graduate Diploma in Music Therapy.

STANDING RESOLUTION OF COUNCIL 3.63 - DEGREE OF MASTER OF MUSIC

1(1) There shall be a degree of Master of Music.

1(2) An applicant for admission to candidature for the degree shall - (a)

have graduated or qualified to graduate as a Bachelor of Music with Honours; or

(b)(i)(x) have graduated or qualified to graduate as a Bachelor of Music or a Bachelor of Music Education; or

(y) be a graduate in Music of another university or tertiary educational institution whose degree is recognized by the Faculty of Music ("the Faculty") pursuant to Statute 11.1.6 as appropriate for the purposes of this regulation; or

(z) hold a qualification in Music deemed by the Faculty to be the equivalent of the degree referred to in (a) and thereby satisfy the Faculty pursuant to Statute 11.1.6 that the applicant has had adequate training and has the ability to pursue the course; and

u

where required by the Faculty, undertake to the satisfaction of the Faculty, such preliminary courses of study and assessment as may be prescribed by the Faculty in the case of that applicant.

1(3) An applicant who is eligible for admission to candidature pursuant to sub-section (2)(a) or (2)(b)(i) and has where required complied with (2)(b)(ii) may with the consent of the Faculty be admitted to candidature tor the degree of Master of Music.

2. A person undertaking a course of preliminary study or research as required by the Faculty pursuant to paragraph (b) sub-paragraph (Ii) of section 1 shall unless excused by the Faculty - (a) if studying full-time, complete that course within one year of its

commencement; or

85

b) If studying part-time complete that course within two years of its commencement.

3. Before commencing the course for the degree a candidate shall obtain the approval of the Faculty for the course of study or research proposed by the candidate and shall obtain the approval of the Faculty for any subsequent change in such course.

4. A person engaged in another regular occupation which, in the opinion of the Faculty, allows the person sufficient time to pursue the studies required, or who is a member of the University staff, may be accepted as a part-time candidate for the degree.

4A. Except where the Faculty otherwise determines (1) A candidate shall engage in a course of study and research and shall -

(a) if studying full-time complete that course within a minimum of one and a maximum of two academic years;

(b) if studying part-time complete that course within a minimum of two and a maximum of four а cadenrc years.

(2) Any period spent in undertaking a preliminary course of study and assessment

pursuant to section 1(2)(b)(ii) before admission to candidature shall not be counted for the purpose of sub-section (1) hereof.

5(1) Each candidate shall present to the satisfaction of the Dean or a person nominated by the Dean at least one lecture or lecture recital during candidature.

(2) A candidate who has -

(a)(i) engaged in research and submitted within the time prescribed a thesis satisfactory to the examiners embodying the result of such research or an edition of a significant music work together with a dissertation thereon which is satisfactory to the examiners, or

('i)

given, to the satisfaction of the examiners, the number prescribed by the Faculty of public performances of programmes of substantial music works approved by the Faculty and has passed such examination as the Faculty may prescribe, or

(iii) prepared to the satisfaction of the examiners a folio of compositions approved by the Faculty and a folio of analysis of a number of major works approved by the Faculty together with commentaries thereon;

completed to the satisfaction of the examiners a postgraduate course of advanced studies in a field prescribed by the Faculty; where required, satisfied the examiners at an oral examination related to the course undertaken by the candidate; and complied in all other aspects with this regulation; may be admitted to the degree of Master of Music.

(3) A candidate who is eligible for admission to the degree pursuant to this section may, where the eхатпе rs so certify, be awarded the Degree with Honours.

6(1) A candidate may not submit for examination work in respect of which the candidate has already qualified lor a degree in a university or lor a qualification equivalent to such degree or without the permission of the Faculty work which the candidate has previously submitted for any such degree or equivalent qualification.

6(2) subject to this section the provisions of Statute 12.5 shall apply to the submission of work by candidates for examination.

(b)

(c)

(d)

86

STANDING RESOLUTION OF COUNCIL 3.60 - DEGREE OF DOCTOR OF PHILOSOPHY [This degree is awarded by the University. For details see the Standing Resolutions of Council, Vol. 2. Standing Resolution 3.60)

STANDING RESOLUTION OF COUNCIL 3.57 - DEGREE OF DOCTOR OF MUSIC

1(1) A person may be adm і ted to candidature for the degree of Doctor of Music who -

(a) is a graduate in the Faculty of Music; or

(b) holds a degree, whether in this University or in any other university or institution, which degree is recognized by the Faculty pursuant to Statute 11.1.6 as appropriate for the purposes of this regulation;

in every case of not less than five years' standing from first qualifying to graduate.

1(2) A person shall not be admitted to candidature pursuant to paragraph (b) of sub-section (1) unless the person satisfies the Faculty of Music that he or she has attained an appropriate academic standing as a composer of music or as a scholar of music.

2. Candidates may present themselves for examination in either or both of two schools, namely - A. Composition: an original work for orchestra with or without soloists, or for

orchestra and chorus with or without soloists, or a series of works which together would constitute a major contribution to music;

В . Theory, History and Aesthetics of Music: original essays or other evidence of original research.

3. Candidates must satisfy the Faculty as to their ability as composers in school (A) and so to their musical scholarship in school (В ) before being admitted to the examination.

4. For the purpose of the examination of candidates under section 2, examiners shall be nominated by the Faculty, and candidates who have satisfied the examiners in either or both of the abovementioned schools and who have fulfilled the other conditions hereinbefore prescribed may be admitted to the degree of Doctor of Music.

87

10.3 COURSE STRUCTURE

GRADUATE DIPLOMA IN MUSIC THERAPY

Objective and Aims of the Course: The objective of the Graduate Diploma in Music Therapy is to provide a course of study for those people who have completed tertiary qualifications in music, music education or an equivalent field, in order for them to make a career change into the field of music therapy. The course provides a thorough study of the theory and practice of music therapy. On satisfactory completion of the Graduate Diploma in Music Therapy, graduates will be eligible for Registration as Music Therapists with the Australian Music Therapy Association (Inc.).

The specific aims of the course are:-

• to develop musicianship skills to a level of proficiency to direct creative music activities for clients within a music therapy context to develop an advanced knowledge of music styles and Idioms, including improvisation

• to develop a knowledge of clinical conditions, and the application of music as a treatmenVspecial education modality to develop skill in the assessment, design, implementation and evaluation of music therapy programmes. under supervision, in a diverse range of clinicaVspecial education settings. to develop research into all aspects of music therapy.

Course Structure: The course may be taken full time over 1 year, (where all pre-requisites have been met), or over two years part-time.The course comprises five subjects, four of which are existing subjects within the undergraduate degree course. The subjects are:

Application of Music in Therapy Physiology for Musicians Influence of Music on Behaviour Advanced Techniques in Musicianship Clinical Placement in Music Therapy

Entrance Requirements Pre-requisites:

A Bachelor of Music or Bachelor of Music Education degree (or equivalent), of at least three years duration trom a University or College recognised by the Faculty of Music, as providing in-depth studies in the following areas:-

Performance (Practical Instrument) Music History Music Techniques (Harmony and Counterpoint)

Preference will be given to students who have also studied • Ortf and Dalcroze methods and Vocal skill training, and guitar skill

Psychology, Including a study of cognition, perception, theories of learning and memory, neuropsychology, social psychology and statistics. Applicants who have not completed these studies but who succeed in gaining a place in the course, will need to augment the core curriculum with these subjects, completing the course over 2 years.

200 hours (25 days) expenence in an allied therapy field, or in teaching is required.

88

740-601 DEGREE of MASTER OF Music

All candidates are required to complete satisfactorily a major study in Research or Composition or Performance as follows:

Research Candidates seeking to undertake the course in the fields of Musicology, Music Therapy or Music Education may do so subject to the approval of the Faculty of Music in either of the following manners:

() By thesis of between 30.000-35,000 words (excluding footnotes and appendices) embodying the results of significant research on a topic approved by the Faculty. Any variation to this topic must be approved by the Faculty.

OR

(ii) By transcription and edition of a substantial body of music together with an editorial commentary and a dissertation of between 10,000-20,000 words on the subject of the music edited.

Composition Candidates seeking to undertake the course in the field of Composition may do so subject to the approval of the Faculty of Music by presentation of:

(1 a folio of original compositions using different resources and of varying lengths including at least one composition of a substantial and sustained nature; the folio must be approved by the Faculty

AND

u a folio of analyses of a number of major contemporary musical works, details of which have been approved by the Faculty, together with a dissertation of approximately 10,000 words on these works.

Performance Candidates seeking to undertake the course in the field of Performance may do so subject to the approval of the Faculty of Music and will be required:

() to give to the satisfaction of the examiners appointed pursuant to Statute 3.12, two public recitals in which major works are performed. One recital should be of normal concert length and the other of approximately 50 minutes duration. The programmes for the two recitals are to be submitted for approval by Faculty not less than six months pior to the anticipated date of the first recital. (No candidate may present a recital in fulfilment of this requirement until the Faculty has satisfied itself through audition that the candidate is adequately prepared for public performance; this audition will be held not more than three months after approving the recital programmes.)

AND

(ii) to provide substantial programme notes for each recital at the time of the recital;

AND

u) to write a dissertation of approximately 10,000 words on a subject approved by the Faculty of Music related to their performance area.

89

In addition all candidates will normally be required:

() to complete satisfacto ň ly during the first year of candidature course work prescribed by the Faculty, after consultation with the candidate. This course of study may include subjects offered in another Faculty of the University, where these subjects are related to the topic of the major study being undertaken for the degree

AND

(i) to take part In a programme of postgraduate seminars organized by the Faculty. The postgraduate seminars will be held in both semesters of the academic year. All students, whether tull-time or part-time, must attend and participate in at least 75% of the seminars in the first year of their candidature.

AND

(Iii) to present a lecture or lecture-recital of not more than 50 minutes in duration, to the satisfaction of assessors appointed by the Faculty.

DEGREE OF DOCTOR OF PHILOSOPHY

This degree is awarded by the University. For details, see the Standing Resolution of Council 3.60.

90

SECTION 11 - MUSIC COURSES AT THE VICTORIAN COLLEGE OF THE ARTS

Undergraduate Courses for Performers The School of Music of the Victorian College of the Arts offers full-time courses of three years duration leading either to the UGI-degree award, BACHELOR OF ARTS IN MUSIC, or to the UG2 award, DIPLOMA OF ARTS IN MUSIC. Normally applicants have completed six years of secondary education. Admission is subject to auditioning successfully, and a high level of performing ability is required. Advanced standing may be granted to students transfer ň ng from other tertiary institutions, but the final year of the course must be completed on campus in full. The initial year of College study is probationary.

Graduating students are required to present public performances at a professional level either as soloists or as directors of ensembles, demonstrating skills in conducting, rehearsing and writing for ensemble players. A small number of degree students may be permitted to specialize in composition, music history or musicology in their final year of studies, but such course components will total no more than 40 per cent it the third year prescriptions. The specialization permitted each student concerned will be within an individual programme of study having a major emphasis on performance. As well as leading to a number of performing vocations. the Colleges undergraduate courses provide a basis for music teaching and are approved for entry to some teacher-training programmes. Every student receives generous individual instruction on the principal performing study. Ensemble training is provided by the symphony orchestra, large ensembles and varous chamber combinations. Students of guitar, pianists and singers attend specialist ensemble classes and attend weekly master classes.

Theoretical studies in the diploma course include musicianship, materials and music literature classes and lutonats. Degree students complete additional historical studies developing understanding of pег oогп ing practice styles. Performing electives may be undertaken in the College's Renaissance, Baroque, Contemporary and Jazz ensembles.

Graduate Studies The PG1 GRADUATE DIPLOMA IN MUSIC course is of two years' duration. It is designed either to provide advanced repertoire studies or to broaden areas of undergraduate specialization. The graduate course provides for approved professional engagements to be undertaken concurrently with course work. Entry is by audition only following completion of a first degree or diploma majoring in music performance. Special consideration may be given to unqualified applicants of exceptional ability.

Opera and Music Theatre The Victorian College of the Arts offers a three year part-time course of studies in Opera and Music Theatre leading to a UG3 ASSOCIATE DIPLOMA award. Singers must demonstrate at audition that their voices are sufficiently matured and well-trained to undertake stage work.

The course in Opera and Music Theatre is conducted by the College in its studios at the National Memonal Theatre, St. Kilda.

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Appendix: ALUMNI ASSOCIATION

The University is more than just buildings and people, staff and students, thrown together for a few years.

Former students and staff remain members of the University for life - they are our ALUMNI. Many continue to take an active interest in the University and the welfare of its students by advising on career choices, helping to improve facilities, providing scholarships and other valuable services. Graduates elect ten members to the University Council and participate in other governing bodies.

The ALUMNI ASSOCIATION sends members the quarterly University Gazette to keep them informed about the activities of the University. The Association also encourages members to use the facilities of the University - the libraries, sports union, continuing education courses and to keep in touch, through reunions and the branches that have been established interstate and overseas.

As a student, you are beginning an experience that will last you a lifetime, and may take you far afield. Graduates are a diverse and mobile population . and, sadly, we have lost contact with some of our Alumni.

It you have friends or relatives who studied here and are not receiving the Gazette, please let us know, or ask them to contact us. They are certain to be keen to catch up with University news, and we would be delighted to put their names on our mailing list.

Your name

Address Postcode

Lost Alumni

Surname Given Names

Address Postcode

Relationship to Student

Surname Given Names

Address Postcode

Relationship to Student

Send to the Alumni Office, The University of Melbourne, Ра rkvill е , Vii. 3052.

Or phone (03) 344 7469 or drop in to the office at 216 Leicester Street (near the front entrance to the University).

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UNIVERSITY REGULATIONS

University Statutes referred to or quoted in this handbook are the revised set of statutes, which are available in the 1989 University Calendar. P ń zes, scholarships, bursaries and other endowments (formerly listed in Chapters 6 and 7 of the replaced Statutes and Regulations) have become Standing Resolutions of Council and may be identified by the Regulation numbers used in 1988.

SUSPENSION OF SUBJECTS

In exceptional circumstances the Council is empowered to suspend subjects and vary the syllabus of a subject. For example, insufficient enrolments may be a ground for suspending an optional subject. Details of any such alteration will be available trom the appropriate Faculty Office and will be announced on department notice-boards.

PROPOSED AMALGAMATIONS AND AFFILIATIONS WITH OTHER TERTIARY INSTITUTIONS

The University of Melbourne is conducting negotiations with the Victorian College of the Arts for the amalgamation of the two institutions f rom dates to be determined, but likely to be in 1991. It is envisaged that the present Faculty of Music will become The University of Melbourne School of Music within a larger Faculty of Music, Visual and Performing Arts.

Students entering award courses at either institution may, subject to the amalgamation arrangements. quay for awards of the University of Melbourne.

Library Digitised Collections

Author/s:

The University of Melbourne

Title:

Handbook: Faculty of Music 1991

Date:

1991

Persistent Link:

http://hdl.handle.net/11343/129031

Documents

FACULTY oF COURSE AND SUBJECT GUIDE