This unit is designed to equip students with a working knowledge of current music theory and analysis practice, impart analytical skills that can be applied across a broad spectrum of activities and different musical genres and types, and develop an understanding of related concepts such as what analysis actually is, different types of analysis (functional, descriptive, surface, aural/perceptual vs. score based) and an understanding of working at different levels of abstraction.

Music Business Skills is designed to prepare graduating students for the non-musical aspects of their forthcoming career. The unit is designed as an overview of the many different facets of the music industry, including setting up a small music business (including GST/taxation overview and responsibilities), funding sources and alternatives, tour planning and budgeting, producing and designing promotional tools, dealing with record company's/music publishing, and other essential techniques and requirements of running a successful music business in today's competitive arts environment.

The aim of the unit is to examine the changes in the last 12 years of Beethoven's creative output, and discuss these in terms of a transition between what are traditionally called 'classic' and 'romantic' periods. This will be done through analysis, and the discussion of historico/critical surveys, aesthetics and contemporary sources. Themes covered will include: Classicism/Romanticism. the compositional process. Beethoven and the fugue in the late style. Variations as transformations. The late quartets. The last 5 Piano Sonatas. Missa Solemnis. The 9th Symphony. Reception of Beethoven's late works.

This unit is open to all students who want to go beyond the overview gained in survey courses and investigate baroque music topics of their own choice in more depth. The course emphasises student participation and individual exploration. Students choose their own readings, using primary and secondary sources ranging from 17th and 18th-century treatises, manuscripts and other documents to the latest critical writing by international scholars. Essay topics can cover any aspect of baroque music, for example performance practice, aesthetics, instruments, or studies of the music of particular composers, genres or places. Students can choose to share their findings either in a conventional class presentation or in a lecture-demonstration / performance.

This unit will explore specific works of literature which deal with musical matters or which make significant statements about musical aesthetics. The contribution towards understanding musical experience of creative artists who are not, or not primarily, musicians, is sometimes ignored in courses for the training of musicians. Yet, in the case of writers, such artists are often better equipped than musical professionals to capture in words, the ineffable nature of musical experience and aesthetics. Moreover their place as receivers rather than creators sometimes enables them to make statements about the broader cultural significance from a perspective outside that of production and performance. This course exists to allow trainee performers, teachers and musicologists an opportunity to explore such perspectives. Topics will be decided by class interest and may include work by Bruce Chatwin, Gunter Grass, Herman Hesse, James Joyce, Milan Kundera, Thomas Mann, Romain Roland, Vikram Seth, William Shakespeare, Tim Winton and others.

Paleography of Music introduces principles and issues of some different types of western musical notation in use during the medieval and Renaissance periods, and contributes to the development of an understanding of original sources of music of these eras. Through studying original notations and sources, students can develop an understanding of the characteristics and problems of medieval and renaissance musical repertories not otherwise available. Students will transcribe from the original notations studied into modern musical notation. Among the notations to be studied are several chant notations including that of the musical sources of Hildegard of Bingen; white mensural notation as used in sources of fifteenth and sixteenth vocal polyphony with examples likely to include music by Dufay, Ockeghem and Byrd; French and Italian lute tablatures; and German keyboard tablatures.

The New German School was a controversial term coined in 1859 to legitimise the self-consciously progressive art of composers such as Wagner and Liszt. This course explores their music and aesthetic theories against the backdrop of contemporary debates and reception politics. Their personal relationship will also be scrutinized in detail. Works to be studied include selections from Liszt's symphonic poems and piano works, Wagner's Tristan, Die Meistersinger and Ring tetralogy.

This unit aims to provide students with a framework for analysing African-American musical products. An historical survey of research into African-American performance is followed by a discussion of current critical debates and scholarship. Students will apply existing theoretical models to the analysis of jazz, funk and hip-hop works. In turn, they will develop original research methodologies for the analysis of an African-American expressive work of their choice.

This unit will explore Austro-German modernism at the turn of the century as it is present in the works of Strauss, Mahler and Schoenberg. Their music will be related to the cultural concerns of the time, in particular to contemporary trends in visual art, literature and philosophy. From an analytical perspective, particular attention will be paid to each composer's harmonic and formal strategies, and how these contributed to the disintegration of the tonal system. Works to be studied include selections from Strauss's tone poems, Mahler's symphonies and Schoenberg's chamber music, as well as Lieder by all three composers and a number of operas.

This unit will study a range of today's popular classics with a view to understanding how musical meaning is constructed in relation to the development of tonality and other stylistic conventions from the Ancient Greeks to the present day. It will consider questions about how the Western art music tradition has been constructed through history. What are the social factors at work? How does music reflect the minds of its creators and create meaning?

Music has been dramatically shaped and reshaped by every major change in communications technology in the 20th century from vinyl discs to MP3s. In this unit of study we will analyse such issues as the ways in which the early recording industry transformed jazz, the blues and country music, how the presentation of music on radio and television changed how the music industry created new musical celebrities, and the challenges the music industry faces as digital technology transforms the creation, distribution and consumption of music.

What can we learn from non-textual approaches to understanding music? The primary goal of this unit of study is to study music not as a composer, producer, performer, listener or audience member, but as an ethnographer. That is, analysing music through an observational, experiential and intellectual understanding of how people make and take meaning from music. This unit is a prerequisite for MUSC4011 Music Honours A (for BA Hons in Music).

This unit of study looks at how Australian music reflects, and to some extent, shapes our national identity. How does Australia sound itself as a nation? What stories about ourselves does our music tell? What are the characteristics of Australian music that are different and unique? How does our music situate Australia in a globalised community? Some indigenous music as well as well as music by non-indigenous composers will be studied.

How did early American blues and country music develop in tandem? How was punk different in the US, the UK and Australia? What are the origins of the DJ culture? This unit of study presents a thematic overview of a wide variety of styles, movements and spectacles. It examines major genres of popular music, their stylistic features and historical antecedents as well as modes of reception and the role of popular music in everyday life. No formal music training is necessary.

This unit is an introductory survey of the history and aesthetics of film music from the late 1890s to the present day. Topics for discussion will include the dramatic function of music as an element of cinematic narrative, the codification of musical iconography in cinematic genres, the symbolic use of pre-existing music, and the evolving musical styles of film composers.

This unit of study includes a practical component in which participants will be actively involved in the administration and management of musical festivals and/or concerts. They will learn the procedures and protocols necessary for a smooth behind-the-scenes operation of music event presentation through their own involvement as well as examination of best practice event management nationally and internationally.

The history of Australian popular music presents us with a long and complex heritage. It reflects, in its very constitution, the lives of those who create it. This unit of study will explore the continuing experience and influence of a wide range of music made in Australia, from bush ballads to dance anthems, from Countdown and Rage. We will examine the folk revival of the 50s, pub rock of the 70s, punk and indie rock of the 80s and 90s as well as the emergence of the multiplicity of styles and expressions that mark the contemporary Australian music scene.

This 'survey' unit of study presents a diverse range of music written and performed as a response to spiritual traditions in a range of cultures. The survey will include examples of music created in response to Christianity, Buddhism, Hinduism, Judaism and Islam. The focus will be upon the music rather than religion. Listening will provide the main framework for study.

This unit of study offers students a comprehensive understanding of interrelations and convergences between music and politics from a variety of musical genres and political circumstances. Students will be introduced to theoretical models for comprehending the social agency of musical expression, analyse the politics of convention and innovation within musical traditions, and examine musical dialogues that have reflected and influenced momentous social and political movements. No formal musical training necessary.

This unit of study focuses on sources of the 'world music' genre; surveying such regions as the Arab world, Aboriginal Australia, Indonesia, south and east Asia, the Arctic regions, North and South America and sub-Saharan Africa. It examines the music of these non-Western cultures and also the function of that music within society. The ability to read music notation is not required.

What do we study when we study music? What kinds of stories do we tell about the history of music? What are the central issues, questions, and concerns that drive the study of music? This unit of study will begin to answer these questions and provide an overview of historical musicology as an academic discipline. In addition, students will also learn and practice the research skills necessary to find and evaluate sources, and to define and develop an area of interest. These skills will provide a solid foundation for the independent research work necessary in the Honours year.

This unit of study deals with the different ways in which we comprehend music and with the different ways in which that comprehension might be explained. It deals with modes of hearing and musical analysis for the purpose of leading students towards a deeper knowledge of how music in various genres (ranging from the classical mainstream to the twentieth-century avant-garde, from Tin Pan Alley songs to punk rock and hip-hop) is understood. A good working knowledge of musical terminology and vocabulary is required. This is the required unit of study for a music major in an Arts degree.

Ths unit follows on from Sound Recording Fundamentals with an in-depth look at frequency-based aural training and its application in the use of equalisation in the recording and mixdown process. Additional topics including frequency response, dynamic range, phase relationships in audio systems, effects processors and analysis of audio mixdowns/mixing techniques will also be discussed.

This unit offers a systematic study of all simple intervals up to and including one octave, triadic harmony, four note chords in closed position and voice leading within these concepts, focusing on common harmonic movements that occur in the jazz repertoire.

This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1, plus introducing compound intervals,open voicings, the addition of all upper extensions to all chord types,and increasingly complex harmonic structures.

This unit consolidates and expands upon concepts and skills introduced in Jazz Ear Training 1 and 2, plus introducing advanced chord types, and increasingly complex harmonic structures.

This unit consolidates all concepts from Jazz Ear Training 1, 2 and 3. By its conclusion,students will have systematically examined, over four semesters,aural concepts that are essential to creative musical interplay in jazz performance.

Students review clefs, key signatures, note values, dynamics, articulation, and learn copying and rehearsal techniques. In addition, instruction will include the ranges of and transpositions for the various instruments, chord symbols, scale-chord relationships, and rhythm section scoring. This unit deals with the study of the harmony of standard jazz repertoire. Students will learn to understand and use basic harmonic rules and the typical harmonic devices, diatonic progression and chord patterns with a view to generating a creative sense of jazz harmony and the ability to write small combo arrangements. Legibility in copying is an assessable aspect. The harmonic techniques explored in this unit are used as the theoretical basis for Jazz Improvisation. Students may be organised into ensemble-like groups and may be expected to bring their instruments to perform the works presented.

In this unit voicing techniques for two to four horns stressing the most effective registers, harmonisation of passing tones, clusters and other techniques will be introduced. The harmonic techniques explored are used as the theoretical basis for Jazz Improvisation. Students may be organised into ensemble-like groups and may be expected to bring their instruments to perform the works presented.

This unit concentrates on more complex harmonic material that forms the basis for Jazz Improvisation, as well as learning arranging techniques for five horns and more complex ensemble music. Methods of reharmonisation of existing jazz and standard compositions will be introduced. Students learn big band orchestration which includes ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers.

Students learn big band orchestration including ensemble scoring, sax soli, background writing, form and the related uses of counterpoint. There will be detailed analysis of scores of major composers and arrangers. Selected arrangements may be rehearsed by a Big Band. Students may study contemporary techniques encompassing elements of polytonality, serial composition, extended instrumental effects Lydian technique and textural voicings. This subject also deals with the harmonic concepts used in Jazz Improvisation.

The aim of this unit is to encourage students to explore creative approaches in arranging/composing for a large jazz ensemble. The course explores various contemporary compositional practises and concepts, including 20th century harmony, counterpoint and orchestration and looks at various ways these techniques can be used and developed in the modern jazz ensemble. Students will complete at least one original work each semester for a large jazz ensemble (10 piece minimum). Availability is subject to sufficient numbers.

The aim of this unit is to expand on concepts introduced in Jazz Advanced Arranging 1 and to further explore creative approaches in arranging/composing for a large jazz ensemble. The unit explores various contemporary compositional practises and concepts, including 20th century harmony, counterpoint and orchestration and looks at various ways these techniques can be used and developed in the modern jazz ensemble. Students will complete at least one original work each semester for a large jazz ensemble (10 piece minimum). Availability is subject to sufficient numbers.

Students in this unit will observe in detail a selection of Western musical styles and the work of particular composers, applying the knowledge thus gained by writing short compositions in the relevant styles. For the student with some creative inclinations, the activity of stylistic imitation offers unique insights into the music of any period. Topics for study will be selected according to the interests of the group, taking into account the need for a coherent and cumulative course structure.

This unit builds on the techniques studied in Aural Perception 1-4 and aims to develop listening and sight-singing skills to a more advanced level. The course will strike a balance between analytical, dictation and solfege exercises across a wide range of repertoire including some non-Western musical styles. Students will also have the opportunity to suggest particular types of work they would like to pursue.

In this unit of study students will be introduced to a range of audio technologies and gain a basic proficiency in sound recording, editing and mixing. Students will experience working in the Conservatorium sound studios, and learn how to make good quality recordings with portable recording devices. There will be an overview of software for notation /sequencing. Students will explore the creative possibilities of music technology by realising a sound work using instrumental and environmental material recorded and edited by them.

An introduction to basic music literacy skills, including learning to read and write music, and an understanding of fundamental aspects of its structure and composition. The material covered in this unit of study concentrates upon the basics of music theory and listening to ensure that participants have a solid grounding for a firm understanding of music notation and organisation.

A more advanced exploration of music literacy skills. The material covered in this course ranges from the broad to the specific: from an examination of musical elements and the way they are used in a variety of musical genres through to specific compositional aspects such as four-part writing or analysis of melodic writing across musical cultures. Listening skills are developed in this unit of study.

An opportunity to create a new composition in a supported environment. Students will hear their works rehearsed and performed, usually by other participating students. The outcome is a performance in a public concert at the end of the Semester. The workshops may be themed around particular genres and musical techniques such as music theatre, drone-based composition, song-writing, sound and rhythm, creating a sound space and media composition.

This unit is an introduction to the use of digital sound and music in creative and multimedia contexts. It is a practical course in which students are introduced to tools of sound creation and manipulation. Students will undertake creative projects as a means to approach learning. In addition, participants will be exposed to a number of approaches to electroacoustic music creation across the 20th and 21st centuries.

This unit of study is designed to provide students with knowledge about educational approaches and strategies for teaching jazz to individuals and small and large groups. Topics will include approaches to teaching jazz articulation, improvisation, and style; performance practices including set up regarding OH&S; and jazz resources for teaching.

The study of piano teaching from elementary to intermediate levels, with particular attention to technical development, including rhythm, touch and reading skills, as well as practice methods and repertoire. This unit is available for students enrolled in Keyboard Principal Study including Jazz students.

This unit provides students with an introduction to and performance experience on a wide range of percussion instruments. The aim of this unit is to: introduce students to performance techniques on orchestral, latin, ethnic and commercial percussion instruments; provide students with historical information about instruments in the percussion family; and enable students to assemble and perform basic maintenance on school percussion instruments.

This unit of study offers an introduction to the basic principles of teaching and learning bowed instruments. Topics covered include the of principles of movement, posture and set-up, bow hold, bow strokes, left hand development and coordination, psychology and motivation, and repertoire. The emphasis is on pedagogical practices and methods and the development of foundational instrumental and interpretative skills. Students are expected to research some main teaching methods, literature and pedagogical repertoire relevant to topics covered.

This unit aims to promote awareness of the main elements of the pedagogy of voice. It examines ways of learning about singing and provides a basis for learning about the physiology and acoustics of the singing voice, approaches to posture, breathing, phonation (onset, range and tessitura, dynamic controls, vibrato, register) and resonance. Assessment includes micro-teaching modules, readings, round table discussions, comparative reports and written tests. On completion of this unit, students will have knowledge and experience of the bases of physiology and acoustics of voice, and of a variety of approaches to singing and teaching.

To provide students with knowledge about educational approaches and strategies for teaching wind instruments to individuals and small groups. Topics will include creative teaching of beginner to advanced wind players.

Performance on any instrument, in any style (classical, jazz, pop, traditional etc.) in lunch-time concerts in the Great Hall and the Old Darlington School. Students receive a written report, an advisory interview after each concert, peer student critiques and corrections to programme notes (all of which are meant to develop a scholarly, analytical research basis towards the practical performance of music). It is advised that MUSC2612 and MUSC2613 be taken over two consecutive semesters.

Performance on any instrument, in any style (classical, jazz, pop, traditional etc.) in lunch-time concerts in the Great Hall and the Old Darlington School. Students receive a written report, an advisory interview after each concert, peer student critiques and corrections to programme notes (all of which are meant to develop a scholarly, analytical research basis towards the practical performance of music). It is advised that MUSC2612 and MUSC2613 be taken over two consecutive semesters.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

In these units, students will be expected to develop an increasing awareness and application of ensemble skills including intonation, blending, balance, and varying roles within the ensemble. Students will study repertoire of diverse genres and styles. On completion of this unit students will develop ensemble skills and repertoire knowledge.

Students will be expected to have reached more advanced levels of preparation, rehearsal and performance. They should be studying major repertoire including contemporary and Australian chamber works. Students will not be permitted to continue unless they are in an established group or are able to present a satisfactory group for approval.

Groups will be expected to show some initiative in liaising with the profession and the musical community outside the Conservatorium. Emphasis is placed on programming and audience communication through programming and stage performance techniques. Students will be encouraged to investigate new repertoire, commission new works, experiment with programming and promotion and seek out performance opportunities.

Students will be encouraged to investigate the depth and breadth of their repertoire and to remedy this where appropriate. The essential techniques of chamber music performance will be re-evaluated in the light of an extended period of study in the previous three years. Groups should seek out opportunities for residencies, festivals, recordings, master classes and other intensive programs. Many will now be in well-established combinations building a professional profile.

A final semester of study before students enter the profession or undertake periods of post-graduate study. Repertoire is further extended; works studied earlier may be revisited in the light of more greater experience and maturity. Established groups are encouraged to make their final performance a major public event providing a launch into the profession. Assistance may be given to achieve this.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

This series of units of study covers both the SCM Choir and the Chamber Choir.
SCM Choir: Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works accompanied by the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the early Music Ensemble. No auditions required.
SCM Chamber Choir: Rehearsals and performances, acquiring essential ensemble techniques in this unit of study, prepare students for public concerts at the end of each semester. The music chosen covers compositions from Gregorian chant to the present day, and may include the Sydney Conservatorium Chamber Orchestra or the Early Music Ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Auditions required.

Introduction to basic conducting technique: beating in simple, compound and asymmetric metres; preparatory beats, upbeats, dynamics and changes of tempo. Elementary score reading and instruction in rehearsal techniques. Understanding the difference between orchestral and choral conducting.

Further development of conducting techniques with emphasis on communication of ideas and expressions through gesture. Score preparation. Discussion of rehearsal techniques and practical exercises with available ensembles.

Consolidation of stick and rehearsal techniques with emphasis on gesture and its expression in accordance with the score. Study of styles and interpretation of classical and romantic composers based on scores,recordings and the performance of works in class.

Expanding the repertoire through study of works by 19th and 20th century composers. Instructions in conducting opera,ballet and accompanying soloists. Developing skills of conducting and performing contemporary music.

In this Unit of Study students will develop musical ideas and basic technical skills to play harpsichord repertoire in a chosen program of study. Historical and stylistic awareness through research, discussion, and application will be a strong and on-going focus and students will also develop strategies in practice to be self-correcting. Students will also study and gain experience of basso-continuo techniques, figured-bass realisation, improvisation and tuning.

In this unit of study students will develop musical ideas and basic technical skills to play classical repertoire on the fortepiano in a chosen program of study. Historical and stylistic awareness through research, discussion, and application will be a strong and on-going focus and students will also develop strategies in practice to be self-correcting. Students will also study and gain experience of improvisation and cadenza writing.

In this Unit of Study students will further develop musical ideas and technical skills to play harpsichord repertoire in an advanced chosen program of study. Historical and stylistic awareness through research, discussion, and application will be a strong and on-going focus and students will also develop strategies in practice to be self-correcting.

In this Unit of Study students will further develop musical ideas and basic technical skills to play classical repertoire on the fortepiano in an advanced chosen program of study. Historical and stylistic awareness through research, discussion, and application will be a strong and on-going focus and students will also develop strategies in practice to be self-correcting.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

Students attend a weekly rehearsal/seminar involving sight-reading, new repertoire and preparation towards one or more guitar ensemble performances in the semester. Students will be required to attend all rehearsals/seminars within the semester and they will prepare and perform repertoire with the ensemble working under the direction of an ensemble leader.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction. Enrolment is subject to audition.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

This unit of study covers all aspects of professional and creative ensemble performance, including: reading, improvisation, dynamics, tone, intonation, articulation, swing, time-feel, style and ensemble interaction.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble.Enrolment is subject to audition, and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format.The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places.

Each ensemble consists of a basic rhythmic section with one or more additional instruments to make up the traditional 'Combo' format. The musical content involves performance of small ensemble works and arrangements including original works by the students themselves in a nominated jazz ensemble. Enrolment is subject to audition, and availability of places.

This streamed class is available to all Conservatorium students as a free choice.The course will focus on basic keyboard technique as well as jazz chord progressions and voicings in small classes with students of like abilities. Students are assessed on their rate of progress by demonstrating successful completion of pieces and exercises. At the end of year examinations, students are required to demonstrate scales, chords, voicings, bass lines and comping.

Consolidation and development of concepts and skills introduced in Jazz Piano 1.

Consolidation and further development of concepts and skills introduced in Jazz Piano 2.

This course aims to help students develop their skills with listening, part-singing (SATB), pitch awareness, intervallic accuracy, internal balance, use of dynamics, breathing, posture, general musicianship and performance.

Consolidation and development of content introduced in Jazz Vocal Workshop 1.

In these units of study, through a wide range of repertoire, students will learn the necessary skills for orchestral and ensemble performance including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.

In these units of study, through a wide range of repertoire, students will learn the necessary skills for orchestral and ensemble performance including refining intonation, tone control, working with a conductor, ethics and professional conduct of an orchestral musician.

The purpose of each of the independent recital preparation units of study is to develop the range of skills that musicians must possess to prepare them to be professional performers particularly in an ensemble situation. Students will receive training/instruction in all aspects of collaborative recital preparation. Through recital repertoire chosen by the student and the principal study teacher at the beginning of the semester, students will learn practical application of elements of recital preparation and performance including appropriate recital structure, issues in collaborative performance, strategies for improvement of accuracy of rhythmic and intonation control, ethics and professional conduct of a musician. Students must abide by the recital preparation attendance and rehearsal policy of the Accompaniment and Chamber Music Unit.

The purpose of each of the independent recital preparation units of study is to develop the range of skills that musicians must possess to prepare them to be professional performers, particularly in an ensemble situation. Students will receive training/instruction in all aspects of collaborative recital preparation. Students must abide by the recital preparation attendance and rehearsal policy of the Accompaniment and Chamber Music Unit.

The purpose of each of the independent recital preparation units of study is to develop the range of skills that musicians must possess to prepare them to be professional performers, particularly in an ensemble situation. Students will receive training/instruction in all aspects of collaborative recital preparation. Students must abide by the recital preparation attendance and rehearsal policy of the Accompaniment and Chamber Music Unit.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This Unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

This unit will help to develop ensemble skills that are essential for saxophonists playing in any conducted ensemble. The aim of this series of units is that the saxophonist will learn how to follow a conductor, listen to others, learn how to blend with other saxophonists and be able to play in a variety of styles.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

Success in string performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

String performance requires frequent exposure to performance opportunity. Strings Performance Class offers the opportunity for students to perform work in progress and receive qualified feedback from lecturers and guests specially invited to the class. The class aims to create a focused and supportive environment in which students can take performance risks. In response to performances the class is invited to discuss technical and musical observations relevant to string playing. All students enrolling in Strings Performance Class must be concurrently enrolled in Principal Study in a string instrument.

In this unit, students work in close collaboration with each other gaining experience of peer learning and creative expression. Detailed work on the major singing languages will further develop the ability to interpret in a variety of styles and genre. By the conclusion of this semester, students should be able to demonstrate growing technical competence and some individual interpretative distinctiveness.

In this semester, students will develop more advanced concert performance skills. Imagination will be encouraged as well as additional detailed text development and understanding. By the completion of the semester, students will be able to interact more successfully with the audience through this increased knowledge of the text and its interpretation.

Students in this unit will refine their technical foundation, reinforce their awareness of stylistic variety, and reveal a growing confidence in ensemble with the piano. Performance will focus on successful presentation between time periods and styles of the studied material. At the conclusion of the semester, students will present with more authority and confidence in a variety of styles.

This unit of study introduces the development of advanced concert presentation skills, with the application of technique at a high level of skill. By the end of the semester, tonal and dynamic variety in relation to the interpretative concept will develop effective communication to further develop individual performance.

Students are encouraged to reflect on their individual performance strengths and weaknesses in preparation for recitals. They will utilise the workshop to develop their recital repertoire using peer feedback to elevate their performance skills. At the completion of this unit, students should be able to demonstrate some individual creativity through the use of sound technique, with musical and interpretative understanding.

In this unit, students will receive additional refinement in order to be at the appropriate level of performance for graduation. At the conclusion, students should be able to perform with confidence and authority, showing technical facility, a sense of style, effective vocal and visual communication, artistry and empathy with other performers.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.

This series of units gives students an opportunity to perform regularly at masterclasses. Students will be expected to discuss and critique each other's performances in an articulate and constructive manner. Detailed analysis of musical style, breathing, posture and performance techniques will be covered.