This 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.

Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of Western and Non-Western musical styles, from classical music to film music to noise.

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.

Through an integrated and research-based approach to music composition and analysis, student's knowledge of music theory and compositional techniques is extended. Skills in this area cover a range of Western and Non-Western musical styles, from classical music to film music to noise.

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 learning. In addition, participants will be exposed to a number of approaches to electroacoustic music across the 20th and 21st centuries.