This unit of study is designed to develop practical reading and playing skills for keyboard players without spending time learning difficult repertoire. The focus will be on building sight reading competence, transposition, clef reading, figured bass realisation and score reading, working on the keyboard and not from an only theoretical position.

This unit of study is designed to develop practical reading and playing skills for keyboard players without spending time learning difficult repertoire. The focus will be on building sight reading competence, transposition, clef reading, figured bass realisation and score reading, working on the keyboard and not from an only theoretical position. This course is a continuation of ACCP1603.

This unit of study examines the theory of sound and acoustics, microphone design, stereo microphone techniques, mixing console operation, application of signal modifiers, digital audio recording and CD creation. Students will experience prac-based recording sessions to gain a comprehensive understanding of the recording technology on offer at the Sydney Conservatorium. Jazz students should have completed Jazz Performance 6 before enroling in this unit of study.

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.

In this Unit of Study students will develop musical ideas and basic technical skills to play the clavichord, harpsichord and chamber organ 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 further develop musical ideas and technical skills to play the harspichord and will be introduced to the 18th-century 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 Classical repertiore on the clavichord and 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.

In this Unit of Study students will further develop musical ideas and technical skills to play Classical and Romantic repertoire on 18th- and 19th-century fortepianos 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.

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.

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

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.

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, extended instrumental effects and textural voicings. This subject also deals with the harmonic concepts used in Jazz Improvisation.

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.

This unit of study is an elective course in rhythm that introduces students to a broad range of material, including case studies of influential local and international approaches to rhythm construction, and overviews of various rhythmic traditions from Asia, Latin America, the USA, Africa, and India. Without doubt, rhythm has become the primary organisational tool in contemporary jazz performance, with many of the world's most influential jazz artists now employing complex rhythmic structures, odd-time signatures, odd-rhythmic groupings, metric modulations, as well as rhythmic models from traditional music styles, as basic structural frameworks and improvisational prompts.

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.

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.

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 of study will focus on the avant-garde tradition that flourished in the middle of the twentieth century but whose roots arguably date back more than 200 years and whose influence still resonates today. Students will be expected to deal both critically and creatively with the various concepts behind the avant-garde movement.

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.

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.

This unit is an advanced exploration of digital sound and music in creative and multimedia contexts. It is a subject in which students are expected to make sophisticated use of sound creation and manipulation tools in pursuit of their own musical ideas. Students will undertake creative projects as a means to learning. An ability to read music at a basic level and an understanding of fundamental musical terminology is an advantage in this unit of study.