GENMUS 3013 - Music & Ideology

North Terrace Campus - Semester 2 - 2014

This course examines the impact on western art and popular music of political, cultural and religious ideologies, with particular emphasis on the twentieth century to the present day. The ability to read music or play an instrument is not required for this course.

  • General Course Information
    Course Details
    Course Code GENMUS 3013
    Course Music & Ideology
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 2
    Level Undergraduate
    Location/s North Terrace Campus
    Units 3
    Contact Up to 3 hours per week
    Course Description This course examines the impact on western art and popular music of political, cultural and religious ideologies, with particular emphasis on the twentieth century to the present day. The ability to read music or play an instrument is not required for this course.
    Course Staff

    Course Coordinator: Dr Mark Carroll

    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

    There are no required resources

    Weekly related readings (see below, page 7), are available either as a PDF on MyUni or online via the Elder Music Library.

    Recommended Resources

    Oxford Music Online is a portal that enables searching in Grove Music Online and other Oxford reference content in the one location. Students can access Oxford Music Online which houses Grove music online through the link on the Elder Music Library website at: 

    Grove music online [electronic resource] can also be located as a title search through the library catalogue.

    e-learning resources - Students are encouraged to make use of the excellent online resources available through the Conservatorium’s subscription to "e-learning resources". In addition to comprehensive information that is clearly presented, there are numerous practice questions for aural and theoretical questions, as well as a wide range of other support information. The e-learning resources website is located at: 

    Use the following:
    User Name: esm
    Student Password: stave

    Art Music (general)

    Anderson, Warren. Music and musicians in Ancient Greece (Ithaca [N.Y.]: Cornell University Press, 1994)
    Bundrick, Sheramy. Music and image in classical Athens (New York, NY: Cambridge University Press, 2005)
    Carroll, Mark (ed). Ashgate Library of Essays on Music, Politics and Society (Farnham, Surrey: Ashgate, 2012)
    Carroll, Mark (ed). Music and Ideology (Farnham, Surrey: Ashgate, 2012)
    Chanan, Michael. From Handel to Hendrix: the composer in the public sphere (London: Verso, 1999)

    Chanan, Michael. Musica practica: the social practice of Western music from Gregorian chant to postmodernism (London: Verso, 1994)
    Citron, Marcia. Gender and the musical canon (Cambridge: Cambridge University Press, 1993)
    Goehr, Lydia. The quest for voice: on music, politics, and the limits of philosophy (Berkeley, Calif.: University of California Press, 1998)
    Harrington, Austin. Art and social theory: sociological arguments in aesthetics (Cambridge : Polity, 2004)
    Janaway, Christopher. Images of excellence: Plato’s critique of the arts (Oxford: Clarendon Press, 1995)
    Landels, John. Music in ancient Greece and Rome (London: Routledge, 1999)
    Leppert, Richard and Susan McClary (eds.). Music and society: the politics of composition, performance, and reception (New York: CUP, 1987)
    Lippmann, Edward. Musical thought in ancient Greece (New York: Columbia University Press, 1964)
    Mark, Michael. Music education: source readings from ancient Greece to today (New York: Routledge, 2008)
    Mathiesen, Thomas. Apollo’s lyre: Greek music and music theory in antiquity and the Middle Ages (Lincoln, Neb. : University of Nebraska Press, c1999)
    McClary, Susan. Feminine endings: music, gender, and sexuality (new edition) (Minneapolis; London: University of Minnesota Press, 2002)
    Michaelides, Solon. The music of ancient Greece: an encyclopaedia (London: Faber, 1978)
    Sherr, Richard. Music and musicians in Renaissance Rome and other courts (Aldershot: Ashgate Variorum, 1999)
    Sherr, Richard (ed). Papal music and musicians in late Medieval and Renaissance Rome (Oxford: Clarendon Press, 1998)
    Taylor-Jay, Claire. The artist-operas of Pfitzner, Krenek, and Hindemith: politics and the ideology of the artist (Aldershot: Ashgate, 2004)
    Thomson, Katharine. The Masonic Thread in Mozart (London: Lawrence & Wishart, 1977)

    Schoenberg, Kandinsky and Der Blaue Reiter 

    Breitenbach, Edgar. ‘Arnold Schoenberg and the Blaue Reiter’, in Quarterly Journal of the Library of Congress 34. 1 (1977), pp. 32-38.
    Carroll, Mark. ‘Hearing is Believing: The Songs in the Blaue Reiter Almanac’, Musicology Australia 32.1 (July): 3-26
    Crawford, John and Ruth Crawford. Expressionism in 20th Century Music (Bloomington: Indiana Press, 1993)
    Dube, Wolf-Dieter. The Expressionists. London: Thames and Hudson, 1972.
    Düchting, Hago. Wassily Kandinsky. Köln: Benedikt Taschen, 1991.
    Furness, R.S. Expressionism. London: Methuen, 1973.
    Kallir, Jane. Arnold Schoenberg’s Vienna (New York: Galerie St. Etienne, 1984)
    Kandinsky, Wassily. Concerning the Spiritual in Art and painting in particular, trs. Michael Sadlier, et al.(New York: George Wittenborn, 1966).
    Kandinsky, Wassily and Franz Marc (eds.). The Blaue Reiter Almanac, ed. Klaus Lankheit, tr. Henning Falkenstein (London: Thames and Hudson, 1974).
    Koch, Jelena (ed.). Arnold Schoenberg – Wassily Kandinsky: Letters, Pictures and Documents (tr. John Crawford) (London: Faber, 1984)
    Lessem, Alan. ‘Schoenberg and the crisis of Expressionism’, in Music & Letters 55. 4 (1974), pp. 429-436
    Levine, Frederick. The Apocalyptic Vision: The Art of Franz Marc as German Expressionism (New York: Harper and Row, 1979)
    Miesel, Victor (ed.). Voices of German Expressionism (Englewood Cliffs: Prentice-Hall, 1970)
    Myers, Bernard. The German Expressionists: A Generation in Revolt (New York: McGraw-Hill, n.d)
    Reich, Willi. Schoenberg: a critical biography (London: Longman, 1971)
    Richter, Hans. Dada - art and anti-art (New York: Abrams, 1965)
    Roethel, Hans K. The Blue Rider (New York: Praeger, 1971)
    Stein, Leonard (ed.). Style and Idea: Selected writings of Arnold Schoenberg (London: Faber, 1975)

    Music and Fascism

    Applegate, Celia and Pamela Potter (eds). Music and German national identity (Chicago : University of Chicago Press, 2002)
    Brinkmann, Reinhold and Christoph Wolff (eds). Driven into paradise: the musical migration from Nazi Germany to the United States (Berkeley, Calif. : University of California Press, 1999)
    Dennis, David. Beethoven in German politics, 1870-1989 (New Haven: Yale University Press, c1996)
    Gilbert, Shirli. Music in the Holocaust: confronting life in the Nazi ghettos and camps (Oxford : Clarendon Press, 2005)
    Grubin, David (ed). Degenerate art [videorecording] (Bendigo, Vic.: Video Education Australasia, ca. 2000)
    Huener, Jonathan and Francis R. Nicosia (eds). The arts in Nazi Germany: continuity, conformity, change (New York : Berghahn Books, 2006)
    Kater, Michael and Albrecht Riethmueller (eds). Music and Nazism: art under tyranny, 1933-1945 (Laaber : Laaber, 2003)
    Kater, Michael. Composers of the Nazi era: eight portraits (New York; Oxford: Oxford University Press, 2000)
    Kater, Michael. The twisted muse: musicians and their music in the Third Reich (New York: Oxford University Press, 1997)
    McClatchie, Stephen. Analyzing Wagner’s operas: Alfred Lorenz and German nationalist ideology (Rochester, N.Y. : University of Rochester Press, 1998)
    Riefenstahl, Leni. Triumph of the will: a document of the 1934 Party Rally [video] Sposato, Jeffrey. The price of assimilation: Felix Mendelssohn and the nineteenth-century anti-Semitic tradition (New York: Oxford University Press, 2006)
    Steinweis, Alan. Art, ideology & economics in Nazi Germany: the Reich chambers of Music, Theater, and the Visual Arts (Chapel Hill : University of North Carolina Press, c1993)
    Tambling, Jeremy. Opera and the culture of fascism (Oxford: OUP, 1996)
    Weiner, Marc. Undertones of insurrection: music, politics & the social sphere in the modern German narrative (Lincoln: University of Nebraska Press, 1993)

    Shostakovich and Stalin
    Brown, Malcolm Hamrick (ed). A Shostakovich casebook (Bloomington: Indiana University Press, c2004)
    Fanning, David (ed). Shostakovich studies (Cambridge: Cambridge University Press, 1995)
    Ho, Allan and Dmitry Feofanov (eds). Shostakovich reconsidered (London: Toccata Press, 1998)
    Volkov, Solomon. Testimony: The Memoirs of Dmitri Shostakovich (New York: Limelight, 1990)
    Wilson, Elizabeth. Shostakovich: A life remembered (London: Faber, 1994)
    Carroll, Mark. ‘ “ It is”: Reflections on the Role of Music in Sartre’s La Nausee’, Music & Letters 87. 3 (2006), pp. 398-407
    Carroll, Mark. Music and Ideology in Cold War Europe (Cambridge: CUP, 2003)
    Fosler-Lussier, Danielle. Music Divided: Bartók’s Legacy in Cold War Culture (Berkeley: University of California Press, 2007)
    Fulcher, Jane. French cultural politics & music: From the Dreyfus affair to the First World War (New York: OUP, 1999)
    Monod, David. Settling scores: German music, denazification, & the Americans, 1945-1953 (Chapel Hill: The University of North Carolina Press, 2005)
    Saunders, Frances Stonor. Who Paid the Piper? The CIA and the Cultural Cold War (London: Granta, 1999)
    Von Eschen, Penny. Satchmo blows up the world: jazz ambassadors play the Cold War (London: Harvard University Press, 2004)

    Popular Music Ideologies (general)
    Baker, Houston. Modernism and the Harlem renaissance (Chicago: University of Chicago Press, 1987)
    Barkley, Elizabeth. Crossroads: popular music in America (Upper Saddle River, N.J. : Prentice Hall, c2003)
    Biddle, Ian (ed). Music and Identity Politics (Farnham, Surrey: Ashgate, 2012)
    Carawan, Guy and Candie (eds). Sing for freedom: the story of the Civil Rights Movement through its songs (Bethlehem, Pa : Sing Out Corp, 1990)
    Denisoff, Serge. Great day coming; folk music and the American left (Urbana : University of Illinois Press, 1971)
    Dimitriadis, Greg. Performing identity/performing culture: hip hop as text, pedagogy, and lived practice (New York : Lang, c2001)
    Doggett, Peter. There’s a riot going on: revolutionaries, rock stars and the rise and fall of ’60s counter-culture (Edinburgh ; New York : Canongate, 2007)
    Filene, Benjamin. Romancing the folk: public memory and American roots music (Chapel Hill : University of North Carolina Press, c2000)
    Fouz-Hernández, Santiago and Freya Jarman-Ivens. Madonna’s drowned worlds: New approaches to her subcultural transformations, 1983-2003 (Burlington, VT : Ashgate, 2004)
    Garofalo, Reebee (ed). Rockin’ the boat: mass music and mass movements (Boston, Mass. : South End Press, 1992)
    Glazer, Tom (ed). Songs of peace, freedom, and protest (New York: McKay, 1970)
    Green, Archie. Only a miner: studies in recorded coal-mining songs (Urbana: University of Illinois Press, 1972)
    Greenway, John. American folksongs of protest (Philadelphia: University of Pennsylvania Press, 1953)
    Hajdu, David. Positively 4th street: the lives and times of Joan Baez, Bob Dylan, Mimi Baez Farina, and Richard Farina (New York: Farrar, Straus and Giroux, 2001)
    Hampton, Wayne. Guerrilla minstrels: John Lennon, Joe Hill, Woody Guthrie, Bob Dylan (Knoxville: University of Tennessee Press, c1986)
    Jackson, Jerma. Singing in my soul: black gospel music in a secular age (Chapel Hill: University of North Carolina Press, c2004.
    Kaiser, Charles. 1968 in America: music, politics, chaos, counterculture, and the shaping of a generation (New York: Weidenfeld & Nicolson, 1988)
    Kemp, Mark. Dixie lullaby: a story of music, race, and new beginnings in a new South (New York: Free Press, c2004)
    Kofsky, Frank. Black nationalism and the revolution in music (New York: Pathfinder Press, 1970)
    MacDonald, Ian. The People’s Music (London: Pimlico, 2003)
    Marcus, Greil. Invisible republic: Bob Dylan’s Basement tapes (New York: Holt, 1997)
    Marqusee, Mike. Chimes of freedom: the politics of Bob Dylan’s art (New York: New Press, 2003)
    Palmer, Roy. The sound of history: songs and social comment (Oxford: Oxford University Press, 1988)
    Peddie, Ian (ed). Music and Protest (Farnham, Surrey: Ashgate, 2012)
    Peddie, Ian (ed.) The resisting Muse: popular music and social protest (Aldershot, Hants: Ashgate, c2006)
    Peretti, Burton. The creation of jazz: music, race, and culture in urban America (Urbana, Ill. : University of Illinois Press, c1992)
    Perkinson, James. Shamanism, racism, and hip-hop culture: essays on white supremacy and black subversion (New York: Palgrave Macmillan, c2005)
    Porter, Eric. What is this thing called jazz? African American musicians as artists, critics, and activists (Berkeley: University of California Press, c2002)
    Roach, Hildred. Black American music: past and present, 2nd ed. (Malabar, Fla.: Krieger, 1994)
    Rodnitzky, Jerome. Minstrels of the dawn: the folk-protest singer as a cultural hero (Chicago: Nelson-Hall, 1976)
    Savage, Jon. Teenage: the creation of youth culture (New York: Viking, 2007)
    Smith, Suzanne. Dancing in the street: Motown and the cultural politics of Detroit (Cambridge, Mass.: Harvard University Press, 1999)
    Spears, Arthur. Race and ideology: language, symbolism, and popular culture (Detroit: Wayne State University Press, c1999)
    Starr, Larry and Christopher Waterman. American popular music from minstrelsy to MTV (New York: Oxford University Press, 2003)
    Szwed, John. Crossovers: essays on race, music, and American culture (Philadelphia: University of Pennsylvania Press, 2005)
    Tanenbaum, Susie. Underground harmonies: music and politics in the subways of New York (Ithaca: Cornell University Press, 1995)Various authors. Shout because you’re free: the African American ring shout tradition in coastal Georgia (Athens: University of Georgia Press, 1998)
    Verney, Kevern. African Americans and US popular culture (London; New York: Routledge, 2003)
    Ware, Vron and Les Back. Out of whitenes : color, politics, and culture (Chicago: University of Chicago Press, 2002)

    Online Learning

    Course documents, including the course profile and assignments advise is available on MyUni.

  • Learning & Teaching Activities
    Learning & Teaching Modes

    Lecture/workshops examine the impact on western art and popular musics of political, cultural and religious ideologies, with particular emphasis on the twentieth century to the present day. They also develop research and writing skills.


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

    The information below is provided as a guide to assist students in engaging appropriately with the course requirements. In addition to the 3 contact hours per week, it is anticipated that students would spend 6-8 hours per week in reviewing lecture notes, preparing for tutorials, listening to repertoire, preparing assignments, and undertaking suggested readings.

    Learning Activities Summary

    Note: MC = Mark Carroll; CC = Carl Crossin; JK = Jim Koehne

    Week/DateLecture/workshop TopicsRelated readings
    Week 1 A General Background (MC) * Course Outline [MyUni] and Bibliographic Style Guide [Online at Elder Music Library - EML]
    * Mark Carroll. ‘Of Swords and Ploughshares’, in Carrol (ed) Music and Ideology (Ashgate, 2012), xi-xxix [MyUni]
    Week 2 Precursors (1): Mozart and Wagner (MC) Katharine Thomson. ‘Mozart and Freemasonry’, Music & Letters 57 (1976), pp. 25-46 [access online via EML
    Week 3 Precursors (2): Schoenberg, Kandinsky and Der Blaue Reiter (MC) Mark Carroll. ‘Hearing is Believing: The Songs in the Blaue Reiter Almanac’, Musicology Australia 32.1 (July 2010): 3-26 [access online via EML]
    Week 4 Music and Fascism (MC) Reinhold Brinkmann. ‘The Distorted Sublime: Music and National Socialist Ideology – A Sketch’, in Michael H. Kater and Albrecht Riethmüller, eds. Music and Nazism: Art under Tyranny, 1933-1945 (Laaber: Laaber Verlag, 2004), pp. 43-63.
    Week 5 Shostakovich v Stalin (MC) * Online at
    * Laurel Fay, ‘Shostakovich versus Volkov: Whose Testimony?’, in Malcolm Brown (ed) A Shostakovich Casebook (Bloomington: Indiana University Press, 2004) pp. 12-19 [MyUni]
    Week 6 Music and Protest: A Sketch (MC) * Ian Peddie. ‘Introduction, in Peddie (ed) Music and Protest (Ashgate, 2012) [MyUni]
    * Greil Marcus, ‘The Unknown Soldier in 1968’, in The Doors: A Lifetime of Listening to Five Mean Years (London: Faber, 2011), pp. 91-101 [MyUni]
    Week 7 Blows Against the Empire: Haight-Ashbury and other visions of a New World (CC)
    Week 8 Music and the African-American Experience (MC) Ron Eyerman and Andrew Jamison. ‘The Movements of Black Music’, in Music and Social Movements (Cambridge, CUP, 1998), pp. 74-105 [MyUni]
    Week 9 Anywhere but here: Music, Afro-futurism and Rastafarianism (MC) * J. Griffith Rollefson. ‘The “Robot Voodoo Power Thesis”’, Black Music Research Journal 28 1 (Spring 2008), pp. 84-109 [MyUni]
    * Robin Denselow. ‘Rebel Music’, in When the Music’s Over: The History of Political Pop (London: Faber, 1989), pp. 121-155 [MyUni]
    Week 10 Music we Love to Hate: Bad Music and Outsider Music (JK) * Irwin Chusid. Introduction, in Songs in the Key of Z (Chicago: A Capella, 2000), ix-xxi [MyUni]
    * David Schiff. ‘Riffing the Canon’, in Notes, Second Series, Vol. 64, No. 2 (Dec., 2007), pp. 216-222 [access online via EML at]
    Week 11 Rebellion or Fashion?: Punk Then and Now (MC) Paul Friedlander. ‘Punk Rock: Buzzsaw Bravado and Shock Politics’, in Rock and Roll: A Social History. Boulder: Westview Press (1996), p. 247-260 [MyUni]
    Week 12 Music and Affirmative Action: From Live Aid to Gay Rights (MC) * Robin Denselow. ‘Feed the World, Free the World’, in When the Music’s Over: The History of Political Pop (London: Faber, 1989), pp. 233-261 [MyUni]
    * Ian Biddle. Introduction, in Biddle (ed) Music and Identity Politics (Farnham, Surrey: Ashgate, 2012), xii-xxiii [Myuni]
    Specific Course Requirements

    There are no additional course-specific requirements.

  • 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

    All of the following assessment tasks are summative in nature. Formative tasks, in the form of tutorial or homework exercises will assist in the completion of the summative assessment tasks.

    Assessment TasksWeightingDateLearning Outcomes
    Annotated Bibliography 30% 2
    Essay of 2500 words 70% 1, 2
    Assessment Related Requirements

    Active and positive participation in 100% of lecture/workshops is expected.

    Although attendance at all lectures is expected, leave applications will not be required to be submitted to the lecturers due to logistical reasons. Students are advised that poor attendance at lectures may have a significant negative impact on their ability to complete assessment tasks.

    Assessment Detail

    Work submitted after the due date will not be accepted unless accompanied by a valid leave certificate.

    Annotated Bibliography (30%)
    Due date: (submit to Elder Conservatorium Schulz office, sign in using coversheet provided by the office)
    Word count: 1000 words

    Essay (70%)
    Due date:  (submit to Elder Conservatorium Schulz office, sign in using coversheet provided by the office)
    Word count: 2500 words (NOT including bibliography and references)

    Please note

    1. You MUST use accurate and consistent references and bibliography. Bibliography and references are to be cited according to either MLA or Harvard (author/date) styles as described in the Elder Bibliographic Style Guide at
    2. Word processed essays are preferred, and you MUST double space your essay, use size 12 font, and use wide margins (ca 2.5 cm).
    3. Please DO NOT enclose your essay in pretty plastic folders: think of the environment and the marker.
    4. Retain a copy of your essay.
    5. Before writing your essay, refer to General Tips to Bear in Mind when Writing Essays (see below)
    6. Answers should make reference to specific musical works, score extracts of which may be included, either in the body of the essay or as an appendix. In either case they MUST be referenced accordingly.

    General Tips to Bear in Mind when Writing Essays:

    1. Footnotes MUST contain full publication details and page numbers (see Elder Music Library website for Bibliographic Style Guide
    2. There is no need to keep repeating full citation details after the first entry of a particular citation – create an abbreviation using author and page (eg, John Smith, p. 10)
    3. Footnotes are preferable to endnotes
    4. Insert the footnote symbol at the end of a quote, not at the beginning
    5. Introduce quotations – eg, ‘Bloggs notes that . . .’ or ‘According to Bloggs: …’
    6. Do not italicise quotations; indent quotations longer than, say, 3 lines
    7. Insert page numbers on your essay
    8. Double space your essay, use size 12 font, and use wide margins (ca 2.5 cm)
    9. ALWAYS retain a back-up copy of your essay
    10. In web citations always give the date the site was accessed by you
    11. Strike a balance between hard copy sources (eg books, journals) and web sources, and AVOID Wikipedia where possible
    12. Book titles, journal titles, CD titles etc must be in italics
    13. Provide citation details for musical examples, and include opus numbers and dates for musical works, where possible
    14. Regarding apostrophes, 1800s NOT 1800’s; and it’s = it is
    15. Bottom line: read aloud what you have written to see/hear if it makes sense

    Written assignments are to be submitted on the dates specified above.

    Late assignment policy:
    Extensions are only granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback.

    In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: 

    Students will receive feedback on their assessment tasks. The Test may be taken again if students wish to improve their mark. The assignment will be returned within two weeks of the submission date. The marked examination and essay will be returned after the examination period. Aural Class lecturers will return marked assessment tasks to students.

    The assignment and essay must be submitted with the relevant cover sheet which will be provided. Your work may not be marked if the cover sheet is not completed and attached. All students must sign the declaration regarding plagiarism and collusion, and work cannot be assessed without this.

    For full details consult the University of Adelaide’s Statement and Definition of Plagiarism and Related Forms of Cheating 

    Plagiarism is the using of another person’s ideas, designs, words or works without appropriate acknowledgement.

    Collusion occurs when another person assists in the production of an assignment without the express requirement, knowledge or consent of the assessor.

    Consequences of plagiarism and collusion
    The penalties associated with plagiarism and collusion reflect the seriousness of the University of Adelaide’s commitment to academic integrity. Penalties may include the student being required to revise and resubmit the work in question, receiving a zero result for the work, failing the course, or expulsion from the course.

    Course Grading

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

    M10 (Coursework Mark Scheme)
    Grade Mark Description
    FNS   Fail No Submission
    F 1-49 Fail
    P 50-64 Pass
    C 65-74 Credit
    D 75-84 Distinction
    HD 85-100 High Distinction
    CN   Continuing
    NFE   No Formal Examination
    RP   Result Pending

    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.

The University of Adelaide is committed to regular reviews of the courses and programs it offers to students. The University of Adelaide therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.