MUSSUPST 2002 - Musicianship 2B
North Terrace Campus - Semester 2 - 2018
General Course Information
Course Code MUSSUPST 2002 Course Musicianship 2B 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 Available for Study Abroad and Exchange Y Prerequisites MUSSUPST 1001, MUSSUPST 1002 Course Description This course explores western music and music making in its historical, social, cultural and philosophical contexts from the late 19th century to the present. It highlights the many musical and non-musical factors and influences that shaped music during that period, and incorporates historical and critical musicology, reception history, and repertoire studies. Theoretical and stylistic aspects will be explored through analysis of selected musical scores and through an emphasis on high level critical listening skills.
Course Coordinator: James Koehne
The full timetable of all activities for this course can be accessed from Course Planner.
History Tuesday 11 -1pm Hartley Concert Room Theory & Analysis Thursday 9-10am Hartley Concert Room
Course Learning OutcomesLearning outcomes
On successful completion of this course the students will acquire:
a conceptual understanding of the key historical, aesthetic, philosophical and technological trends in Western art music from the mid 19th century to the present day.
high level research and writing skills
high level critical listening skills and repertoire knowledge
knowledge of historical perspectives in Western art music
skills in using online technologies to explore the history of Western art music.
University Graduate Attributes
This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:
University Graduate Attribute Course Learning Outcome(s) Deep discipline knowledge
- informed and infused by cutting edge research, scaffolded throughout their program of studies
- acquired from personal interaction with research active educators, from year 1
- accredited or validated against national or international standards (for relevant programs)
1,2,3,4 Critical thinking and problem solving
- steeped in research methods and rigor
- based on empirical evidence and the scientific approach to knowledge development
- demonstrated through appropriate and relevant assessment
2,3,4,5 Teamwork and communication skills
- developed from, with, and via the SGDE
- honed through assessment and practice throughout the program of studies
- encouraged and valued in all aspects of learning
2,5 Career and leadership readiness
- technology savvy
- professional and, where relevant, fully accredited
- forward thinking and well informed
- tested and validated by work based experiences
2,3,4,5 Intercultural and ethical competency
- adept at operating in other cultures
- comfortable with different nationalities and social contexts
- able to determine and contribute to desirable social outcomes
- demonstrated by study abroad or with an understanding of indigenous knowledges
2,4,5 Self-awareness and emotional intelligence
- a capacity for self-reflection and a willingness to engage in self-appraisal
- open to objective and constructive feedback from supervisors and peers
- able to negotiate difficult social situations, defuse conflict and engage positively in purposeful debate
Weekly related readings (see below), are available either as a PDF on MyUni, online via the Elder Music Library, or external websites.
The Music Library located in the Hartley building is an excellent source for music, literature and recordings: http://www.adelaide.edu.au/library/branch/eml/
Music Resources Guide
The Music Resources Guide 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: http://libguides.adelaide.edu.au/music.
Cook, Nicholas and Anthony Poole (eds). The Cambridge History of Twentieth-Century
Music (Cambridge: CUP, 2004).
Hanning, Barbara Russo. Concise History of Western Music, 2nd ed. (New York:
Harper-Scott, JPE and Jim Samson (eds). An Introduction to Music Studies
(Cambridge: Cambridge University Press, 2009).
Jeffrey, Jackson and Stanley Pelkey (eds). Music and history: Bridging the disciplines
(Jackson: University Press of Mississippi, 2005).
Kelly, Thomas Forrest. Early Music: A Very Short Introduction (New York: Oxford
University Press, 2011).
Pendle, Karin (ed). Women & Music: A history (Bloomington: Indiana University Press, c2001).
Latham, Alison (ed). The Oxford Companion to Music. (Oxford: OUP, 2002).
Taruskin, Richard. The Oxford History of Western Music (Oxford: OUP, 2005).
Weiss, Piero and Richard Taruskin (eds). Music in the Western World: A History in
Documents, 2nd ed. (Belmont, CA.: Schirmer, 2008).
Online LearningOnline learning
MyUni will be used to provide details of lecture and seminar content, set readings, assessment advice, and announcements.
Learning & Teaching Activities
Learning & Teaching ModesLearning &Teaching Modes
Lectures and seminars will cover and explore the range of topics as set out in the Course Outline. Spoken word delivery will be supported by audio-visual exhibits and other media.
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.Workload
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.
In addition to the required contact hours, students are expected to play an active role in the practice, refinement and consolidation of their knowledge and understanding. For each hour of this course students will need to spend on average an additional minimum of 3-4 hours per week on readings, critical listening, self-initiated learning and research in order to pass the course.
Learning Activities SummaryLearning Activities Summary
The information below is divided into history and theory lecture topics. It is intended as a guide, and may change in response to needs arising during the semester.
Week 1: Opera in the 19th century
Week 2: The Search for New Resources: Nationalism outside of Germany
Week 3: The Search for New Resources: Exoticism and Orientalism
Week 4: America: Music ‘s ‘New World’
Week 5: Uprising of the Avant-gardes and the Call to Order
Week 6: Stravinsky: Life and Works
Week 7: The postwar radicalisation of the avant-garde
Week 8: John Cage, Aleatoricism and the Experimentalist ‘Tradition’
Week 9: Australian Art Music in the Postwar Era
Week 10: Minimalism and its Evolution
Week 11: Modernism, Postmodernism and Beyond
Week12: Technology, new media and the future of music
Course Overview. What is theory?
The mixing of major and minor; mediant progressions; alternative progressions
(resolutions) of the dominant 7th chord.
Techniques of modulation in chromatic music
Modulating sequences: How to write modulating sequences. Modulation, tonality and modality in the late 19th century: Mahler, Richard Strauss.
Harmony, texture, timbre and form in Debussy, Satie and Ravel.
The emancipation of dissonance and the dissolution of tonality in Schoenberg’s ‘atonal’ music. The twelve-tone method of composition in the music of Schoenberg, Berg and Webern.
Stravinsky: innovations in rhythm, tonality, texture, structure and form in The Rite of Spring.
Stravinsky: Symphonies of Winds and the reinterpretation of the classical tradition in neo-classicism.
Bartók: harmonic, melodic, structural and formal innovations. Compositional methods in Mikrokosmos and Concerto for Orchestra.
Messiaen: theories of modality, rhythm and form in Quartet for the End of Time.
The return of tonality and modality in the late 20th Century. Minimalism: Philip Glass, Steve Reich; post-minimalism: John Adams, Arvo Pärt.
The University's policy on Assessment for Coursework Programs is based on the following four principles:
- Assessment must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
- Assessment must maintain academic standards.
Assessment task Task type Weighting Learning Objectives History Essay Formative and Summative 40% 1,2,3,4,5 History Examination Summative 30% 1,2,3,4 Theory Assignments (2) Formative and Summative 30% 3
History Essay (40% of total mark for semester)
You are invited to choose your own topic, AS LONG as it is relevant to the musical genres and time frame covered in the semester. Please consult with Mark Carroll once you have chosen your topic.
History Exam (30% of total mark for semester)
During the Examination period there will be a short paragraph answer exam, 120 minutes in duration. Students will be asked to provide paragraph answers to four topics drawn from a list of ten circulated earlier in the semester.
• Theory Assignments (2 x 15% = 30% of total mark for semester)
Assignment 1 (15%): Analysis of an excerpt from a work by one of the composers studied in weeks 1-5; composition exercise (16 bars).
Assignment 1 (15%): Analysis of an excerpt from a work by one of the composers studied in weeks 6-10); composition exercise (16 bars).
Late assignment policy:
Late written assignments will be accepted to a maximum of 7 days late with a late penalty of 2 marks per calendar day applied.
Extensions without penalty may be 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.
To apply for an extension, use the medical/compassionate application form available at:
The completed form should be submitted to the Elder Conservatorium Office, either in person at the Music Office front desk (Schulz Building Level 9, access via western Schulz lifts) or via email: email@example.com
Students will receive feedback on their assessment tasks.
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.
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 (http://www.adelaide.edu.au/policies/101/) 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.
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- Student Life Counselling Support - Personal counselling for issues affecting study
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- Reasonable Adjustments to Teaching & Assessment for Students with a Disability Policy
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Policies & Guidelines
This section contains links to relevant assessment-related policies and guidelines - all university policies.
- Academic Credit Arrangement Policy
- Academic Honesty Policy
- Academic Progress by Coursework Students Policy
- Assessment for Coursework Programs
- Copyright Compliance Policy
- Coursework Academic Programs Policy
- Elder Conservatorium of Music Noise Management Plan
- Intellectual Property Policy
- IT Acceptable Use and Security Policy
- Modified Arrangements for Coursework Assessment
- Student Experience of Learning and Teaching Policy
- Student Grievance Resolution Process
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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