Musicology Workshop provides a forum for discussion of musicological work, and the opportunity to gain a broad perspective on the discipline. Many Musicology Workshop activities are built around the Conservatorium's fortnightly Musicology Colloquium Series lectures, presented by SCM staff and visiting national and international scholars speaking on a wide range of topics. Other class activities explore areas such as research and writing skills, music criticism, controversies in recent music literature, visits to local libraries or archives, and conference attendance and reporting. Students are expected occasionally to attend other musicological activities such as the Conservatorium's Alfred Hook lecture series. During classes students also have the opportunity to present and gain feedback on their own research topics.

Musicology Workshop provides a forum for discussion of musicological work, and the opportunity to gain a broad perspective on the discipline. Many Musicology Workshop activities are built around the Conservatorium's fortnightly Musicology Colloquium Series lectures, presented by SCM staff and visiting national and international scholars speaking on a wide range of topics. Other class activities explore areas such as research and writing skills, music criticism, controversies in recent music literature, visits to local libraries or archives, and conference attendance and reporting. Students are expected occasionally to attend other musicological activities such as the Conservatorium's Alfred Hook lecture series. During classes students also have the opportunity to present and gain feedback on their own research topics.

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.

Embracing popular music, Indigenous music, classical music, and the music of multicultural communities in Australia, this unit offers an introduction not only to diverse musical traditions, but also to themes prevalent in the work of contemporary music scholars. These include gender and identity, ownership and appropriation, reception and transmission, colonialism and Empire, globalisation, modernity, representation, and music and place.

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, Gesualdo, Monteverdi, Frescobaldi, Corelli, 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.

Since its beginnings around 1600, no genre of Western art music has been more innovative or influential than opera. It has inspired devotion and disdain, and led to innumerable theoretical debates. In this unit, 400 years of changing operatic practices will be explored through a series of seminal works. These will be treated as documents of specific historical circumstances (including contemporaneous singing and staging practices), and as aesthetic objects which have been reinvented continuously down to the present.

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.

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 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.

Music has been dramatically shaped and reshaped by every major change in communications technology in the 20th century from vinyl discs to spotify. 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.

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.

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 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.

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 hillbilly music of the 1930s, surf rock of the 60s, pub rock of the 70s, reggae, punk and indie rock of the 80s and 90s as well as the emergence of Australian dance music, hip hop and the multiplicity of styles and expressions that mark the contemporary music scene.

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.

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.

Ethnomusicology refers to the study of all musical genres worldwide within their respective social and cultural contexts, and is sometimes also known as the anthropology of music or cultural musicology. This unit introduces and explores some of the most important ideas that have informed the thinking of researchers working in this field - such as the connections between music and gender, social structures, forms of capital, politics, identity, health and the environment. The course also interrogates notions of the nature and experience of music, why musical genres differ and why music has such important but diverse significance worldwide. The course includes several lectures given by expert practitioners from particular musical traditions (such as Indigenous Australian music and Korean drumming), and it directly complements courses on ethnomusicological fieldwork methods. It does not require prior formal musical training.

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.

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.

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.

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 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.

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.

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.

Latin American music has become a powerful force in today's music industry, but its rich diversity and cultural contexts are not always known or acknowledged. This unique unit of study surveys a number of Latin American popular, folk and indigenous musical traditions in terms of their cultural milieu and historical development. These include Afro-Cuban traditions, samba, salsa, tango and Andean music. Various musical, historical and cultural concerns are examined alongside a practical and creative involvement with the compositional characteristics and the repertoire pertinent to these traditions.

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 unit aims to provide students with an historic overview of the development of the field of jazz studies and the emergence of key musicological paradigms that continue to frame contemporary jazz scholarship. In turn, it will introduce students to the most prevalent analytical approaches used to study jazz works and help them make sense of these approaches in relation to the aims of different jazz researchers. By the end of the unit, students will be able to frame new research questions about particular jazz phenomenon in relation to strains of existing musicological discourse and answer these questions using appropriate analytical tools.

As a formal discipline, the analysis of music came into existence during the nineteenth century. Ironically, the music of this era, although much pored over, has been relatively poorly served in terms of analytical methodologies. Characteristically, both the harmonic language and the structures employed by nineteenth-century composers have been analysed as departures from codified eighteenth-century norms. In this unit, we will grapple with the particularity of tonal, harmonic and formal practices of the era, using a range of established methodologies and new tools (including Schenkerian theory, Neo-Riemannian theory, and sonata deformation theory).

Students will attempt to understand the compositions of the seventeenth and eighteenth centuries in the manner by which their creators conceived them. Many compositional and basso continuo tutors from seventeenth and eighteenth centuries describe music as the movement of parts, rather than progressions of chords. This linear, 'contrapuntal' approach focuses on voice leading primarily and harmony as its consequence, contrary to Ramellian theory. Students will study different compositional styles through relevant, contemporary sources. After acquiring an understanding of these compositional processes, students will emulate the style of a composer using their techniques and understand how they 'sound' through performing these compositions. Such a study will provide students with an in depth understanding of different compositional processes, challenging the way they listen to and play works within and outside of the 'classical canon.'