PERF 6008A - Major Recital IV part 1

North Terrace Campus - Semester 2 - 2019

A program of works in the repertoire of the instrument studied. Repertoire may include solo works, chamber music, orchestral material, concerti, accompaniment etc. Recital programs are subject to approval and details must be submitted within the first 6 weeks of the program.

  • General Course Information
    Course Details
    Course Code PERF 6008A
    Course Major Recital IV part 1
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 2
    Level Postgraduate Coursework
    Location/s North Terrace Campus
    Contact Up to 2 hours per week
    Available for Study Abroad and Exchange N
    Prerequisites A minimum of a Credit or above in appropriate Level III performance course or audition or both
    Course Description A program of works in the repertoire of the instrument studied. Repertoire may include solo works, chamber music, orchestral material, concerti, accompaniment etc. Recital programs are subject to approval and details must be submitted within the first 6 weeks of the program.
    Course Staff

    Course Coordinator: Dr Emily Dollman

    Course Timetable

    The full timetable of all activities for this course can be accessed from Course Planner.

  • Learning Outcomes
    Course Learning Outcomes

    No information currently available.

    University Graduate Attributes

    No information currently available.

  • Learning Resources
    Required Resources


    Fink, S. 1999. Mastering Piano Technique. A Guide for Students, Teachers and Performers. Portland. Amadeus Press.

    Friskin, J and Freundlich, I. 1973. Music for the Piano. New York. Dover.

    Gerig, R. 2007. Famous Pianists and Their Technique. Indiana University Press.

    Hinson, M. 1987. The Pianist’s Reference Guide. A Bibliographical Survey. Van Nuys. Alfred Publishing.

    Magrath, J. 1995. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA. Alfred Publishing Inc.

    Neuhaus, H. 1973. The Art of Piano Playing. London. Barrie and Jenkins.

    Parncutt, R., and McPherson, G. 2002. The Science and Psychology of Music Performance. Oxford and New York. Oxford University Press.

    Russell, M. 2002. Alexander Technique. London. Caxton Publishing.

    Proceedings of the Australasian Piano Pedagogy Conferences, 1993 – 2009.

    Additional booklists and other sources of information will be distributed throughout the


    Appelman,D.Ralph, The Science of Vocal Pedagogy,Bloomington,Indiana University Press,1967

    Brown, Oren, Discover your Voice, San Diego, London, Singular Publishing Group 1996

    Bunch, Meribeth, Dynamics of the Singing Voice,4 Ed., Wien ,New York, Springer Verlag 1997

    Chapman, Janice, Singing and Teaching Singing, San Diego, London, Brisbane, Plural Publishing 2006

    Doscher, Barbara, The Functional Unity of the Singing Voice, Lanham, London, The Scarecrow Press 1994

    Garcia, Manuel, Hints on Singing [1894], Kessinger Publishing Rare Reprints,

    Heirich, Jane Ruby Voice and the Alexander Technique, Berkeley, Mornum Time Press 2005

    [Husson, Raoul, Physiologie de la Phonation, Paris, Masson et Cie 1962]

    Husler, F and Rodd-Marling,Yvonne, Singing. The Physical Nature of the Vocal Organ, Melbourne, London, Hutchinson Publishing 1976

    Kimball, Carol, A Guide to Art Song Style and Literature, Milwaukee, Hal Leonard, 2005

    McKinney, James, Diagnosis and Correction of Vocal Faults, Nashville, Broadman Press 1982

    Miller, Richard, Training Tenor Voices, New York, Schirmer Books,1993

    Miller,Richard, Training Soprano Voices, Oxford University Press, USA 2000• ISBN-10: 0195130189 ISBN-13: 978-0195130188

    Miller, Richard, Solutions for Singers, Oxford,OUP 2004

    Power, Patrick, How the Voice Works, Handout ,University of Adelaide 2010

    Phillips, Kenneth, Teaching Kids to Sing

    Riggs, Seth Singing for the Stars, Van Nuys CA,Alfred Publishing 1998

    Stone, R and J, Atlas of Skeletal Muscles, Boston, Sydney, McGraw Hill 2001

    Vennard, William, Singing the Mechanism and the Technique, New York, Carl Fischer 1967

    Wall, Joan et al, International Phonetic Alphabet for Singers, Dallas, Psst Inc.1989

    Ward,Christine,Teaching to Learn, Accelerated Learning Institute [NZ]Ltd 2001 ISBN0-473-06314-X

    [Warren, Ivor, The Grammar of Singing, London A. Hammond and Co]

    Wilson FRCS, Thomas Wind and Voice, Dublin Minim Press 1984

    Bracketed titles are possibly unavailable.
    Online Learning
    Resources and announcements may be posted on MyUni under PERF 6008

    The Elder Music Library Music Resources Guide at  contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here too you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library.
  • Learning & Teaching Activities
    Learning & Teaching Modes
    One-to-one lessons prepare students for intensive and focused individual practice and preparation of instrumental/vocal repertoire and exercises. They also allow for assessment of progress made since the previous lesson.

    Students are also encouraged to explore extended skills and knowledge through attendance at and participation in master classes, workshops and concerts as appropriate.

    The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

    Attendance at lessons as outlined in 4.3, plus approximately 23 hours practice/preparation per week, will result in approximately 24 hours workload per week.
    Learning Activities Summary
    12 hours of one-to-one lessons focus on increasing instrumental/vocal performance knowledge, understanding and stylistic interpretation. Preparation for a Major Recital in Part 2 comprising significant works of an advanced level of difficulty is a feature. Intensive individual practice is required. Scheduling and duration of one-to-one lessons is by individual arrangement with the lecturer concerned.
  • Assessment

    The University's policy on Assessment for Coursework Programs is based on the following four principles:

    1. Assessment must encourage and reinforce learning.
    2. Assessment must enable robust and fair judgements about student performance.
    3. Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
    4. Assessment must maintain academic standards.

    Assessment Summary
    Learning Outcomes Assessment Weighting Completion/Due Date
    1, 2 and 3. Assessment is continuing and the final mark is given at the completion of Part 2 with a 65-minute program of works in the repertoire of the instrument studied.
    Repertoire may include solo works, chamber music, orchestral material, concerti, accompaniment, etc. Recital programs are subject to approval and details must be submitted by the end of Part 1. Participants are required to underpin their performance through the agency of good quality program notes (ungraded requirement). Recital programs are subject to approval and details must be submitted to the discipline specific Head of Studies by the end of Part 1.
    100% Part 2
    Assessment Related Requirements
    • Students are expected to practise all repertoire, technical exercises and other material assigned by their teacher. Careful, consistent and regular practice is assumed. Performance students are expected to practice at least three hours per day.
    • Students will be assigned technical exercises, etudes/studies, orchestral excerpts (if applicable), unaccompanied pieces and solo repertoire. It is your responsibility to schedule daily practice sessions to accommodate all of the above areas.
    High Distinction (85% - 100%)
    This category is reserved for those performances which show exceptional achievement in all aspects. They demonstrate flair, individuality and musical maturity of the highest order.

    Distinction (75% - 84%)
    Performances at this level will show an outstanding technical and musical achievement, combined with flair, imagination and an individual musical personality. All sections of the program will be of a consistently high standard. In particular, the following characteristics will be evident:
    • A consistently high level of accuracy and technical facility.
    • A highly developed structural understanding, evidenced by excellence in phrasing and an effective organization of dynamics.
    • A well developed sense of line and musical momentum.
    • A thoroughly reliable rhythmic sense, including consistent pulse and accurate subdivisions.
    • Excellent quality and range of tone.
    • A high level of concentration and musical involvement.
    • Well-developed sense of style, combining historical knowledge with convincing communication of character and emotion.

    Credit (65% - 74%)
    Performances at this level will show an above average technical and musical achievement. Compared with the distinction category, there may not be the same flair or imagination but other elements will be present to a substantial degree. In particular, the following characteristics will be evident:
    • A high level of accuracy and a well developed technical facility.
    • A good understanding of musical structure, evidenced by suitable phrasing and appropriate treatment of dynamics.
    • A good sense of line and musical momentum.
    • A reliable rhythmic sense, including consistent pulse and accurate subdivisions.
    • Good quality and range of tone.
    • Good concentration and musical involvement.
    • Good sense of style, combining historical knowledge with an ability to communicate character and emotion.

    Pass (50% - 64%)
    This category represents an average level of achievement. The program is well known technically, but may appear untidy at times and may not be completely consistent from one work to another. It shows evidence of sincere effort and solid musical understanding but does not have the polish or control found in the higher categories. The playing could well demonstrate the following characteristics:
    • Generally secure technique but perhaps lacking in polish and consistency.
    • An adequate understanding of phrasing.
    • Limited variety in dynamics and colour.
    • Limitations in tonal quality.
    • Some sense of style but lacking a confident projection of mood and character.

    Fail (0% - 44%)
    This grade is awarded when the performance shows a serious lack of basic technical and musical achievement. The playing will be marred by technical insecurity and there will be little evidence of coherent musical projection.

    Active and positive participation in 100% of required lectures, tutorials, workshops or other practically based courses is expected.

    Sick Leave, Compassionate Leave or Professional Development Leave may, upon application using the relevant Leave of Absence form, be approved by the course coordinator or relevant staff member. (See Leave descriptors in the Conservatorium’s Participation and Attendance Policy for details.)

    • Absence 5 (five) marks
    • Although active and positive participation in 100% of required lectures, tutorials, workshops and practically based classes is expected, any student who attends less than 100% of required classes without approved Leave will receive a 5 (five) mark penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the year for the relevant component - ie after all other assessments have been completed and calculated. 
    Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an unapproved absence.
    Assessment Detail
    All matters concerning the recital program and program notes will be discussed with the lecturer concerned during one-to-one lessons.
    Recital programs are subject to approval and details must be submitted to the discipline specific Head of Studies by the end of Part 1. Students should discuss an appropriate date, time and venue for their Major Recital with the Postgraduate Student Administrator by the end of Part 1. They should also allow ample time for the compilation and printing of program notes.

    It is expected all assessments including presentations, listening tests, practical examinations, written examinations and assignments will be undertaken and submitted as required (see Teaching and Learning Activities). However, Assessment Task Extension, Replacement Examination, Additional Assessment and Deferred Modified Arrangements are available on medical, compassionate or extenuating grounds. Full information concerning these matters can be found on the University website under University Policies and Procedures, Modified Arrangements for University Coursework Assessment Policy, at 
    Where possible it is advisable to discuss the matter with the lecturer concerned in the first instance.
    Course Grading

    Grades for your performance in this course will be awarded in accordance with the following scheme:

    NOG (No Grade Associated)
    Grade Description
    CN Continuing

    Further details of the grades/results can be obtained from Examinations.

    Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.

    Final results for this course will be made available through Access Adelaide.

  • Student Feedback

    The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.

    SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy ( course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.

  • Student Support
  • Policies & Guidelines
  • Fraud Awareness

    Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student’s disciplinary procedures.

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