This unit aims, through performance, to help students develop vital aural and improvisational skills which will significantly enhance their compositional process.

This unit continues to develop through performance and investigation into experimental modes of presentation, to help students develop vital aural and improvisational skills which will significantly enhance their compositional process.

Music for the voice is found across a range of styles from the ancient sounds of plainsong through to the music of Icelandic pop star, Bjork. Creative Vocal Ensemble provides the opportunity to workshop new compositions for groups of voices. Students analyse compositions from an eclectic range of styles that are covered in lecture/seminars in order to inform the creation of new works. Students taking this course will comprise a 'resident ensemble' in which the studied works may lead to the creation of new musical languages in student compositions.

Instrumentation and Orchestration, enhances students' knowledge of the modern orchestra while reinforcing core musicianship skills. Instrumentation study investigates the technical limitations and expressive potential of individual instruments. Orchestration examines a range of instrumental combinations in diverse styles and ensemble contexts, and requires that students learn best typographic practice and current conventions of notation and score layout. In examining instrumental characteristics the unit will also cover the fundamentals of acoustics and timbre perception, and will demand a thorough grasp of the harmonic series and its broader musical implications. Throughout the course students will be required to present their own arrangements and transcriptions.

New Music, New Thinking is designed to challenge the way in which students' understand the music of our time. Through in-depth analyses of music of the past 100 years, students will be exposed to a variety of compositional techniques, concepts and aesthetics. The content and assessment of this subject will enable students to further develop critical thinking and judgments with regards to the composition of new classical music and relate this knowledge to other contemporary cultural practices. Students will be expected to undertake weekly readings and listenings, participate in discussion and conduct independent research.

This unit will explore concurrent techniques in electroacoustic composition through the completion of various tasks in sound processing and the composing of electroacoustic sound works. Students will discuss existent and emergent examples of the electroacoustic repertoire, and will gain insights into the recording and composing process leading to the creation of new musical compositions in the field of electroacoustics.

This unit will focus on computer based music composition utilising formal processes to create music with computers. This unit investigates an interactive graphical programming environment for music, audio and media called Max, allowing the composer to program and implement interactive music processes quickly and with varying levels of sophistication, thus encouraging the student to explore real-time creative possibilities of digital music technology.

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

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 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 includes understanding the ranges of and transpositions for the various instruments, chord symbols, scale-chord relationships rhythm section scoring and voicing techniques for small jazz combo arrangements ¿ featuring Trumpet, Alto Sax, Tenor Sax, Trombone + Rhythm section. 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 typicalstandard harmonic devices, diatonic progression and chord patterns. Legibility in engraving and copying is also an assessable aspect.

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 of study 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 semester examinations, students are required to demonstrate their understanding of the chords and voice leading of the selected repertoire. An introduction to playing chords of tunes of the jazz repertoire. An introduction to playing diatonic cycle harmony. An introduction into jazz rhythmic articulations.

Consolidation and development of concepts and skills introduced in Jazz Piano 1. Applying A/B chord voicings and Drop 2 chord voicings to Jazz Standards.

Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres, including rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.

Students work on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and simple and compound metres. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre.

Students continue to working on dictation and sightsinging exercises using diatonic pitch materials in all major and minor keys, and rhythms using triplets and duplets. Sight singing exercises use both moveable-'do' sol-fa and letter-names systems. Dictation exercises emphasise the aural identification of tonic, pitch collection and metre..

Materials studied include diatonic harmony, species counterpoint, modes and rhythms using sub- and supertriplets.

An understanding of the materials of tonal music is fundamental to all aspects of a student's musicianship. The acquisition of practical skills in harmony provides a means of examining in their essence issues of musical structure and technique that apply throughout the tonal repertoire. In the first semester students gain fluency in writing four-part harmonisations using diatonic vocabulary, learning the basic chord functions and voice-leading patterns that will provide a framework for later elaboration. Exercises in species counterpoint are included to assist in the comprehension of voice leading principles, and the linear conception of music is further explored through introductory exercises in analysis.

Having acquired basic skills in voice leading and an understanding of diatonic chord functions, students are introduced to more advanced concepts that are encountered frequently in the tonal repertoire. These include modulation, diatonic sequences and techniques for working with instrumental textures. Counterpoint studies are continued, both in practice and in analysis, where some aspects of Baroque musical forms are considered.

This course introduces students to the different ways of thinking about music that bind together our Conservatorium culture. It is a course concerned with 'big' questions: What exactly is a musical work? What do we hear when music is played? How do we go about making new music and how do we make old music new again? In grappling with these questions, students learn how to formulate persuasive arguments about the nature of music in general and the significance of musical works and artists in particular. The course is broken into four three-week episodes: Talking about Music, Making Music, Listening to Music and Learning about Music. Lectures from performers, composers, music educators and musicologists comprise each of these episodes and cover the wide variety of music genres and approaches to music making taught at the Conservatorium. As students hone their philosophical positions in relation to the course's 'big' questions, they are therefore simultaneously introduced to the constellation of ideas that constitute our musical world.

This unit introduces the study of the psychology to learning and instruction, presenting an overview of the historical relationships between education and psychology, and how cognitive research informs educational practices. It develops students' understandings of psychology's applicability to music education through discussion of relevant research, participation in class activities, and consideration of real-life situations. It aims to develop students' understanding of learners, the learning process, and how educators can optimise music instruction through adopting best practices based on research and understandings of psychology relevant to educational settings.

In this unit of study students will be introduced to a range of music technologies and gain a basic proficiency in sound recording, editing and mixing. Students will learn to work with audio in a digital audio workstation, how to make good quality recordings with portable recording devices, and make use of these skills in service of a creative outcome. The unit will include an overview of software for notation/sequencing, as well as basic sound synthesis concepts. In the final assessment students will explore the creative possibilities of music technology by realising a sound work using either instrumental and/or environmental sound recorded and edited by them.

Today, the broad variety of music the professional musician is likely to encounter requires an awareness and practical familiarity with a wide range of popular music genre conventions and contemporary approaches to rhythm. This course provides students with a range of expressive tools that allow them to confidently engage with popular music genres and rhythms. In this unit students will undertake intensive rhythmic awareness training and limited group tuition on one musical instrument (student to provide). They will be guided in playing the instrument in an ensemble, and will participate in ensemble performances. Through seminar-style workshops of selected covers, they will begin to develop a broad understanding of popular music rhythms, instrumentation, ensembles, and musical structures, thus enhancing their knowledge of recorded popular music history and its extensive and diverse musical genres.

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 than MUSC1503. The material covered in this unit of study 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. Analysis and compositional craft regarding melody, harmony and rhythm in classical and contemporary popular music are a central focus of this unit of study. Critical listening skills are developed in this unit of study.

This unit surveys some of the major developments in the history of western classical music from the Medieval period to the present, and relates them to broader historical and artistic trends. In addition to analysing individual musical works, students will engage with musical historiography and develop a critical understanding of some influential techniques of music analysis.

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 the ways 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.

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. This unit of study also examines microphone design, stereo microphone techniques, mixing console operation and digital audio recording. Students will experience prac-based recording sessions to gain a comprehensive understanding of the recording technology on offer at the Sydney Conservatorium.

This unit follows on from Sound Recording Fundamentals with a variety of both theoretical and practical applications and aesthetics within the studio-based recording environment. Additional topics include frequency response/spectral range and shaping, dynamic range (to compress, or not to compress), DSP functionaility in pre- and post- production and analysis of audio mixdowns and concurrent mixing techniques.

This unit of study looks at classic techniques and processes in composition which emerged during the middle to the later part of the twentieth century. The focus is on key works of this period by composers such as Stockhausen, Xenakis and Ligeti and others. The material covered will enable the student to strengthen their own repertoire of compositional techniques and allow them to understand their own work in a clear historical context.

This unit of study looks at techniques and processes in tonal and minimalist composition which emerged during the later part of the twentieth century. The focus is on key works of this period by composers such as Andriessen, Reich, Adams and others. The material covered will enable the student to strengthen their own repertoire of compositional technique and allow them to understand their work in a clear historical context.

This unit will focus on interactive and generative composition within the digital audio domain and the application of sound synthesis to live electronic music performances in which sound is generated and transformed during the performance rather than pre-recorded. This unit investigates sound generation techniques allowing the composer to create and modify sound with current software applications. Students will explore the means by which sound is produced with computers to extend the creative possibilities of digital signal processing.

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

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 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 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.

Consolidation and further development of concepts and skills introduced in Jazz Piano 2. `Call and Response¿ rhythm playing; Modal harmony; ii V I progression voicings.

Consolidation and further development of concepts and skills introduced in Jazz Piano 3. Variations of the jazz standard repertoire are examined, and interpreted by reading lead sheets. Chord voicings are memorized. Australian jazz repertoire and jazz piano composition is explored.

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.

Materials studied include more complex tonal melodies, chromatic tonal harmony, and rhythms using irregular division and small divisions.

Materials studied include more complex chromatic tonal harmony, atonal melodic and harmonic materials, and more complex rhythmic materials including irregular and mixed metres.

Harmony and Analysis 1 and 2: some separation is maintained between studies in counterpoint and harmony but the emphasis here is upon drawing together those two aspects. An ideal model for this approach is offered by the chorales of J.S. Bach, which form a focus in Harmony and Analysis 3. Each topic is, however, extended to embrace later styles and assignments include the writing of short piano pieces, along with chorale settings and figured-bass exercises. With the benefit of a broader harmonic vocabulary, students will also investigate some aspects of fugal technique and sonata forms.

The study of pre-20th century tonal harmony is completed with a consideration of chromatic techniques, particularly those found in the music of the first half of the 19th century. An exhaustive study of later 19th century chromaticism is beyond the scope of a course at this level, but is intended that students will at least acquire the ability to look further into the music of that period as they encounter it. In keeping with the stylistic orientation of the course, emphasis is placed upon developing facility with instrumental textures and working with some of the smaller forms found in 19th century music.

Listening to music performance is an everyday occurrence, yet expert listeners possess tacit knowledge about performers' sound and little is known about how they process sensory information from a performer to conceptualise, recognise and verbalise the sound they hear. This unit of study will focus on recent empirical research studies and examine the ways in which we listen to music performers by sound and sight, how we assess music performance, and how we describe the sounds we hear.

This unit explores major topics in the history of Western art music from the 9th century to c. 1750 in a broad historical context. Beginning with Gregorian chant and the invention of music education notation, we investigate a wide range of genres and styles of the Medieval, Renaissance and Baroque eras, as well as innovations including the development of music printing, developments in musical instruments, and the emergence of opera, sonata and concerto. Musical works for analysis and discussion include examples by Hildegard of Bingen, Machaut, Dufay, Josquin, Palestrina, Monteverdi, Frescobaldi, Lully, Purcell, Vivaldi, Handel and J.S. Bach.

This unit will survey the main lines of musical development between 1750 and 1890, with primary focus on the composition of music, and how this relates to the social and aesthetic currents of the time. The overview given in the lecture series will be reinforced by detailed focus on individual works in the tutorials from both historical and analytical perspectives. Topics will include the emergence and codification of classical form and syntax; style and genre in the works of the first Viennese School; Beethoven's 'heroic' and 'late' styles; national opera traditions; symphonic poem and music drama; nationalism and exoticism; and the conflict between progress and tradition.

Traces the essential developments in Western art music from the very end of the 19th century to the start of the 21st, and relates them to broad socio-historical and artistic changes. The overview given in the lectures is reinforced by the analysis of key works in tutorials. Areas covered include Late Romanticism, Impressionism, Expressionism, Free Atonality, Rhythmic Innovation, Neo-classicism, Serial Music, Political Music, American Experimentalism, Electro-Acoustic Music, Chance composition, Textural Composition, Minimalism, influences from Popular Music, Collage and Polystylism, East-West Encounters, Neo-Romanticism, Post Modernism and Spectralism. Works analysed include compositions by Andriessen, Bartok, Cage, Debussy, Ligeti, Messiaen, Part, Schoenberg, Strauss, Stravinsky, Stockhausen and Webern.

Embracing popular music and examples of traditional and contemporary music in Australia and Asia, this unit offers an introduction not only to the genres themselves, but to the themes prevalent in the work of contemporary music scholars. These may include gender and race, ownership and appropriation, reception and transmission, technology and globalisation, music as social behaviour, and music and place. Such themes are considered across the three topic modules: Popular Music (including contemporary Aboriginal music); Traditional Music (Australia, Japan, Melanesia) and Australian Music (place and identity, from colonialism to the present day).

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 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 focuses not just on music but also on 'noise' and sounds both natural and man-made. By means of in-class experiments, field trips and 'audio diaries', students will explore the nature of sound; by means of lectures, readings and discussion, they will examine the many ways in which human beings engage - negatively as well as positively - with the sonic world around them.

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

This course examines the powerful link between jazz and moments of social revolution in the United States. It illuminates the central role jazz musicians like Duke Ellington, Dizzy Gillespie, Charles Mingus and Max Roach played in changing hearts, minds and social structures during four distinct historic periods: the Harlem Renaissance, the post-War 1940s, the Civil Rights movement of the 1950s and the Black Nationalist movement of the 1960s. Its central focus is on how music can both ride and resist the political energies that charge particular historic moments.

This unit of study introduces students to philosophical questions about music and to thinking about music with philosophical methodology. The course visits some of the questions which have perplexed musicians and philosophers alike: How are beauty and music related? What does music tell us about time? What is a musical work? How do we listen? Is music related to language? This course enables all students of music and the liberal arts to understand music as a philosophically distinctive phenomenon.

Psychology of Music examines music cognition and behaviour to explore the way music is created, produced and perceived. This unit will introduce recent interdisciplinary research as a way to explore music as a social activity. It will consider the methods used by sociologists and psychologists to investigate music and encourage students to think conceptually about their own musical activities.

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.

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.

How did the music of enslaved and marginalised people eventually become a dominant force in contemporary popular culture? This unit will examine the local reinvention of a wide variety of African American music in communities around the world. From soul and funk in West Africa to ska and reggae in the Caribbean, we will examine how music moves around the world and within local communities to make new forms of meaning.

This unit of study includes a practical component in which participants will be actively involved in the administration and management of music and arts events. 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 and is underscored by the dynamic relationship between Indigenous and non-Indigenous Australia. This unit of study will explore the continuing experience and influence of a wide range of music made in Australia, from songlines to bush ballads and dance anthems, Countdown and Rage. We will examine the folk revival of the 50s, pub rock of the 70s, reggae, 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 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 examining the social agency of musical expression, they will 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.

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 musical styles including classical music (past and present), jazz, popular music, film music and noise.

In this unit students will receive small group tuition on one traditional Chinese musical instrument (provided on loan). They will be guided in playing the instrument in an ensemble, and will participate in ensemble performances. Through seminar-style discussions of four selected readings and of at least one concert of Chinese music attended during the semester, they will begin to develop a broad understanding of Chinese traditional musical instruments, ensembles, and musical structures, thus enhancing their knowledge of China's thousands of years of recorded musical history and its extensive and diverse musical traditions.

In this unit students continue their previous study of one Chinese instrument in both small group and ensemble settings. They are encouraged to build on technical capacity developed in their first semester's study, and to perform a wider range of pieces. They will also engage with a range of recordings and live performances of Chinese music to further develop their understandings of traditional and contemporary Chinese music, and of how Chinese musical instruments have featured in a variety of musical contexts.

This unit will focus on electronic music composition involving new paradigms brought about by real-time performance, installations, network technology, human computer interaction, gestural control and integration with visual arts and video animations. This unit of study will also investigate the available literature on topics such as multimedia, interactive and installation work in the context of contemporary sound art practice.

This unit provides a practical introduction to composing music for the screen.
Topics for discussion will include, but not be limited to: the relationship between image and sound, music as a force in dramatic narrative, important scores in cinema history, sound design, music for documentary film and drama, music for games, and non-commercial applications of music for image. Importantly, the course will focus on the practical aspects of film scoring relevant to establishing professional practice; both at a business level and at a technical level. Students in this unit of study must be fluent in sequencing and/or recording and/or music notation software.

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Wind Orchestra is a performing ensemble open to musically experienced performers on woodwind, brass, and percussion instruments, as well as one string bass and one piano. This large concert ensemble performs the finest repertoire for concert band in a broad range of styles including the standard masterworks alongside challenging new compositions. This ensemble provides an artistic and expressive outlet for the members from the Conservatorium and the University through weekly rehearsals and public performance. The Wind Orchestra rehearses and performs in the historic Verbrugghen Hall at the Sydney Conservatorium of Music. Assessment: level of preparation, actively weekly participation in the rehearsal process, and quality of performance.

Rehearsals prepare members for public concerts at the end of each semester. The music chosen covers oratorio and large choral works in association with the Sydney Conservatorium Symphony Orchestra, the Sydney Conservatorium Chamber Orchestra, or the Early Music Ensemble. No auditions required. (Rehearsals are usually held on Thursdays, refer to timetable for details).

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

Rehearsals prepare the auditioned members of the Chamber Choir for a public concert(s) at the end of each semester. The music chosen covers compositions from Gregorian chant to the twenty-first century, and may include a baroque orchestra, or instrumental ensemble. Sight-singing skills, style and historical performance practice will be an emphasis in preparation for performances. Rehearsals include 2hrs with the Conservatorium Choir.

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.

Explore how 19th-century composers extended 18th-century chromatic routines for new expressive purposes, and discovered new compositional syntaxes in those routines. Learn new terms and graphic techniques for classifying and representing harmonic states characteristic of 19th?century music. Study systematic implications of analytical observations. Representation of analytical interpretations using economical and focused prose. Intensive study of compositions by Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Liszt, Brahms, Wagner.

Students will learn about, discuss and play different musical forms from East Asia - ranging from ancient guqin music to contemporary K-Pop. They will develop an understanding of key aesthetic concepts, musical instruments and musical features of the music cultures in this region. Students will be encouraged to develop awareness of the diversity of East Asian musics and cultures, and of music's interrelation with and great significance to East Asian societies both in the past and today.

More than 250 years after his death, J.S. Bach remains one of the most revered musicians in the Western tradition. What influences formed Bach's style? What makes his music embedded in its time and place, yet distinctive and instantly recognisable? This unit investigates the music of this iconic composer in its historical context, considering his training, cultural and religious environment, stylistic influences and ongoing legacy, and allows students to explore their own research interests relating to Bach's music.

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. Among the notations to be studied are likely to be several chant notations including that of the musical sources of Hildegard of Bingen; white mensural notation as used in sources of fifteenth- and sixteenth-century vocal polyphony with examples likely to include music by Dufay, Ockeghem and Byrd; French and Italian lute tablatures; and German keyboard tablatures. Understanding the notations studied forms the main emphasis of this course, and students learn to read and transcribe from the original notations into modern musical notation. In addition, there may be a class project focussed on chant manuscripts in Sydney.

This unit will explore the fantastic as a central aspect of romanticism in its various manifestations, including the uncanny, the daemonic and the alienated. In music, this meshes fruitfully with the fantasy as a genre, which is similarly dependent on the imagination and the evasion of clear boundaries. A range of Lieder, operas, symphonic and solo works by composers such as Schumann, Berlioz, Liszt, Mendelssohn and Schubert will be studied against the backdrop of literary and artistic innovations by Goethe, Hoffmann, Byron, and Friedrich. Theories of the fantastic by Todorov, Freud and others will also be examined.

The New German School was a controversial term coined in 1859 to legitimise the self-consciously progressive art of figures such as Wagner and Liszt. This course explores the music and aesthetic theories of these two composers 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.

Between 1889 and 1914, certain Austro-Germanic composers played a crucial role in the emerging modernist movement. Richard Strauss, Mahler and Schoenberg engaged with past musical traditions and contemporary trends in visual art, literature and philosophy to produce a distinctively new type of music. Works to be studied include Strauss's tone poems, Mahler's symphonies and Schoenberg's chamber music, as well as Lieder and stage works. Among the issues which will be explored are the way in which traditional formal structures were invoked and destabilised, the changes the musical language underwent and how music was conceptualized in this era of change and crisis.

Students will bring their composition, performance and music technology skills together to complete one project during the course of the semester. They will write, rehearse, perform and record their music. Finally, they will work with music industry professionals to create a plan to present their work to the public. Throughout the semester, students will engage in research, analysis and assessment of their own work and the work of their peers.

This subject is a continuation of Contemporary Music Making 1. Students will bring their composition, performance and music technology skills together to plan, pursue and complete two projects. Students will work on a semester-long collaboration with others students. They will write, rehearse, and perform their music and then produce audio recordings. Throughout the semester, students will engage in research, analysis and assessment of their own work and the work of their peers.

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.

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 begins to answer these questions and provides an overview of musicology as an academic discipline. The readings cover the field of musicology from its beginnings in the 1880s up to the present day.

Every musical form worldwide exists within a tradition, and globalization has been crucial in shaping those traditions in the contemporary era. This course explores different ways that musical traditions and globalization intersect. It introduces key theoretical approaches to both globalization (including postcolonial perspectives) and the concept of musical tradition, and explores case studies including social media and music in the Pacific Islands, East African hip-hop, understanding globalization's influence on indigenous Australian musical traditions and historically informed Western art music performance.

Films in the 'classical' style are still being made, but increasing numbers of films veer from tradition, and often their communicativeness depends on innovative uses of music and sound. This upper-level seminar involves intense scrutiny of soundtracks of works by Philip Nolan, Martin Scorsese, Terrence Malick, and other twenty-first-century filmmakers.

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.

The range of media channels through which we experience, popular music has prolifereated in recent years. The emotive power of music is used to tell stories, sell products and connect people to one another. This unit will analyse the use of popular music in a broad range of multimedia forms from film and television to video games and the use of digital media to disseminate a multitude of musical multimedia productions.

The act of performing music creates a multitude of social relationships between listeners, audiences, musicians, performers, and the industries and institutions that surround them. This subject will ask students to study acts of performance historically, theoretically, and observationally. They will examine a wide range of situations and circumstances and try to work out how the expression of music is also an expression, affirmation, and contestation of social power. This subject will appeal to those who wish to study subjects such as music, performance studies, sociology, anthropology, and gender and cultural studies. It cuts across all of these areas of inquiry in the attention that is paid to the complexity and subtlety of how music is perceived and experienced across multiple social scenes and communities. This subject is not about performance practice or assessment. Instead, it seeks to allow students to gain some insight into the experience of performance as multifaceted and perspectival. The case studies will focus primarily on popular music, but will also include boundary riding performances from the avant garde and experimental music traditions of the 1960s and 70s.

Even as the 'Age of Newspapers' seems to be coming to an end, human beings' need for authoritative commentary on music remains as strong as ever. Along with surveying the history of music journalism from the early eighteenth century up to the present day, this unit of study offers participants the chance to try their hands at various forms of music journalism.

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. This is a required unit of study for a music major in an Arts degree.

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.

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.

This unit will provide an in-depth study of the art of conducting including the three main areas: Gesture and movement, Score study and analysis/aural skills, Rehearsal techniques. This advanced unit is skills based and repertoire driven covering major works in the following four genres: Orchestra, Wind band, Choral, Opera.

This unit allows students to further develop proficiency on one Chinese instrument in both small group and ensemble settings, and to continue to perform with the ensemble. Students will gain a deeper understanding of Chinese music by conducting an interview with a performer or composer of Chinese music, and by exploring selected readings concerning orchestraparticular themes relating to the repertoire under study.

This unit allows students to further develop proficiency on one Chinese instrument in both small group and ensemble settings, and to continue to perform with the ensemble. Students are also encouraged to take an increasingly active and independent role in engaging with Chinese music. In particular, they are guided and supported in small group collaborations focussing upon developing, rehearsing, recording and publicly performing a range of works for Chinese instruments.

This unit is designed for third year students to undertake a project that allows them to work with one of the university's industry and community partners. Students will work in teams on a real-world problem provided by the partner. This experience will allow students to apply their academic skills and disciplinary knowledge to a real world issue in an authentic and meaningful way. Participation in this unit will require students to submit an application.

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.

This seminar is designed to prepare students for undertaking their own research projects in music in the Honours Program. It will introduce and develop students' awareness of recent musical scholarship and research methodologies and equip students with skills to design and conduct research across a wide variety of musical topics. Students will develop strategies for locating and reviewing information efficiently and effectively and begin exploration of their chosen research topic. The seminars culminate with a series of student presentations, in which students present their research proposals to students and staff for discussion.

Musicology Workshop Advanced provides a forum for discussion of musicological work and provides experience in the spoken presentation of ideas and research, and in discussion of ideas and research in a group context. It also provides a broadening of students' experience in the field through contact with the work of other students, staff, visiting scholars, and musicology graduates, as well as through class projects when time permits, in areas such as publication, music criticism, visits to local libraries or archives, and conference attendance and reporting.