MUSSUPST 3001 - Musicianship 3

North Terrace Campus - Semester 1 - 2018

This course explores a range of significant styles in which musical fusions have developed since the early 20th century to the present. The various styles will be discussed in relation to their key musical features, as well as the artistic, cultural, social, and political attitudes and factors influencing these styles. The careers component prepares students for a variety of music industry career options, and provides guidance in job and grant applications, the preparation of resumes and self-promotion.

  • General Course Information
    Course Details
    Course Code MUSSUPST 3001
    Course Musicianship 3
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 1
    Level Undergraduate
    Location/s North Terrace Campus
    Units 3
    Contact Up to 3 hours per week
    Available for Study Abroad and Exchange Y
    Prerequisites At least 12 units of Level II study
    Course Description This course explores a range of significant styles in which musical fusions have developed since the early 20th century to the present. The various styles will be discussed in relation to their key musical features, as well as the artistic, cultural, social, and political attitudes and factors influencing these styles. The careers component prepares students for a variety of music industry career options, and provides guidance in job and grant applications, the preparation of resumes and self-promotion.
    Course Staff

    Course Coordinator: Peter Dowdall

    Course Timetable

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

    Course Timetable

    Careers seminar Tuesday 3-4 pm Hughes Lecture Theatre
    History lecture Wednesday 2-4 pm Hughes Lecture Theatre
  • Learning Outcomes
    Course Learning Outcomes
    Learning outcomes

    On successful completion of this course the students will acquire:

    1. a conceptual understanding of the range of significant styles in which musical fusions have developed since the early 20th century to the present.


    2. high level research and writing skills


    3. high level listening skills and repertoire knowledge


    4. knowledge of historical perspectives in recent music


    5. skills in using online technologies for research


    6. an awareness of career opportunities and pathways in the music industry
    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
    2,5,6
    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
    2,4,5,6
    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
    2,3,5,6
  • Learning Resources
    Required Resources
    Learning resources

    Required resources

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

    Recommended Resources

    Library

    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.

     
    Ake, David (ed). Jazz/Not Jazz: The Music and Its Boundaries (Los Angeles:

    University of California Press, 2012)

    Anon. Australasian music industry directory, 33rd ed. (Newtown: Immedia,

    2001)

    Anon. The rock pages: A guide for young musicians on how to get started in

    the S.A. music industry and keep going (North Adelaide: Carclew

    Youth Arts, c1995)

    Atton, Chris. ‘Living In The Past: Value Discourses in Progressive Rock

    Fanzines’. Popular Music, Vol 20, No.1 (Jan 2001), pp. 29-46

    Auslander, Philip. Liveness: Performance in a Mediatized Culture (New York:

    Routledge, 2007)

    Carroll, Mark. ‘Out of the Ordinary: The Quotidian in the Music of Graeme

    Koehne’, Music & Letters 95.3 (2014): 429-451

    Connor, Stephen (ed.), The Cambridge Companion to Postmodernism

    (Cambridge: Cambridge University Press, 2004

    Cowen, Tyler. In Praise of Commercial Culture (Cambridge: Harvard University

    Press, 2000)

    Day, Timothy. A Century of Recorded Music: Listening to Musical History (New

    Haven, Connecticut: Yale University Press, 2001)

    Fellezs, Kevin. Birds of Fire Jazz, Rock, Funk, and the Creation of Fusion

    (London: Duke University Press, 2011)

    Frith, Simon. Taking Popular Music Seriously (Aldershot: Ashgate, 2007)

    Goldberg, Justin. The ultimate survival guide to the new music industry:

    Handbook for Hell (Los Angeles: Lone Eagle Pub., c 2004)

    Hannan, Michael. The Australian guide to careers in music (Sydney:

    University of New South Wales, 2003)

    Harper-Scott, JPE and Jim Samson (eds). An Introduction to Music Studies

    (Cambridge: CUP, 2012)

    Hollander, Pamela. ‘Elevate My Mind’: Identities for Women in Hip Hop Love

    Songs’
    Studies in Popular Culture, Vol. 36, No. 1 (Fall 2013) p. 109
    Howland, John. Ellington Uptown: Duke Ellington, James P. Johnson, and the

    Birth of Concert Jazz (Ann Arbor: University of Michigan Press, 2009)

    Holloway, Rowena. Making music: a continuous case study of marketing in

    the music industry (Frenchs Forest N.S.W. : Pearson, 2003)

    Katz, Mark. Capturing Sound: How Technology has Changed Music (Berkeley,

    California: University of California Press, 2005)

    Kelley, Robin. Africa Speaks, America Answers: Modern Jazz In Revolutionary

    Times (Cambridge, Mass. 2012)

    Kirby, Alan. ‘The Death of Postmodernism and Beyond’, Philosophy Now 58 (2006) at http://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond
     
    Latham, Christopher. Survival of the fittest: The artist versus the corporate

    world (Strawberry Hills: Currency House, 2004)

    Lopes, Paul. The Rise of a Jazz Art World (Cambridge: Cambridge University

    Press, 2002)

    Lysloff, Rene and Leslie Gay. (eds.), Music and Technoculture (Middletown

    Connecticut: Wesleyan University Press, 2003)

    Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture (New York. Oxford University Press, 2002)

    Negus, Keith. Music Genres and Corporate Cultures (New York: Routledge,

    1999)

    Nicholson, Stuart. ‘Jazztronica: A Brief History of the Future of Jazz’ JazzTimes

    (2003)

    http://jazztimes.com/articles/14149-jazztronica-a-brief-history-of-the-future-of-jazz
     
    Peyser, Joan. The Orchestra (Michigan: Billboard Books, 2000)

    Santoro, Gene. Highway 61 Revisited: The Tangled Roots of American Jazz,

    Blues, Rock, and Country Music (New York: Oxford University Press,

    2004)

    Schulenberg, Richard. Legal aspects of the music industry: An insider’s view

    (New York: Billboard Books, 1999)

    Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions

    (London: Arnold, 2000)

    Williams, Justin. ‘The Construction Of Jazz Rap as High Art in Hip-Hop Music’.

    Journal of Musicology, Vol 27, No.4 (Fall 2010) pp. 435-459

     
    Careers online sources:

    Music in Australia

    http://musicinaustralia.org.au/index.php?title=Welcome

     
    ArtsHub

    http://www.artshub.com.au

    Online Learning
    Online learning

    MyUni will be used to provide details of lecture and seminar content, set readings, assessment advice, and announcements.
  • Learning & Teaching Activities
    Learning & Teaching Modes
    Learning & Teaching Activities

    Learning & 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.
    Workload

    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 Summary

    Learning 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. 

    History Topics

    Week 1: Introduction and Overview

    Week 2: Jazz/classical

    Week 3: Progressive rock

    Week 4: Classical/pop

    Week 5: Jazz/country/Americana

    Week 6: Jazz/R&B/rock

    Week 7: Jazz/pop

    Week 8: Hip Hop/rock

    Week 9: World music

    Week 10: Jazz/rap/hip hop

    Week 11: Jazztronica

    Week12: Pop/electronica 


    Careers topics

    The careers seminars will be presented by a range of industry figures, and will cover topics including grant and job applications, career choice, copyright, business practice, online marketing and promotion and the various facets of the music industry.

  • 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
    Assessment Summary

    Assessment task Task type Weighting Learning Objective/s
    Annotated bibliography Formative 15% 1,2,4
    Research Essay Formative and summative 40% 1,2,4,5
    Exam Summative 30% 1,3,4
    Careers Assignment Formative 15% 2,5,6



    Assessment Detail
    Assessment detail

    Annotated bibliography (15% total mark for semester)

    Word count: 1000 words 

    Students are asked to provide an annotated bibliographic survey relating either to a lecture topic presented as part of the series, or on a topic of their choice, which may be the final essay topic. Students will identify and cite correctly 10 separate entries, a maximum of five of which can be online resources. The annotation will give a considered summary/critique of the given entry, and outline its relevance to the topic selected.

    Bibliography and references are to be cited according to either MLA or Harvard styles, as described in the Elder Conservatorium Music Referencing Guide: http://libguides.adelaide.edu.au/content.php?pid=411678&sid=3365050

    Essay (40% of total mark for semester)

    Word count: 2000 words (NOT including bibliography and references)


    Students are free to write on a topic relevant to their fields of interest and expertise. 


    History Exam (30% of total mark for semester)


    During the Examination period there will be a paragraph answer exam, during which you will be asked to answer in paragraph form FOUR of eleven questions given to you towards the end of the first term. The questions address selected weekly lecture topics. 


    Careers Assignment (15% of total mark for semester)

    Assessment is in two parts, with each part comprising 50% of the mark for the Careers component. 


    Assessment 1 – Students are to provide a summary of the seminar series. The summary (600 words IN TOTAL) should incorporate specific points raised by the guest lectures (ie, no waffle). You should conclude by reflecting briefly on what the series tells you about your own career prospects.

     
    Assessment 2 – EITHER submit a mock (or real) job application OR a mock grant application, both of which are to contain a detailed CV. As per the advice of lecturers, the grant application should include a rough budget.
    Submission
    Submission

    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:

    https://www.adelaide.edu.au/student/exams/forms/medical-compassionate-application-form.pdf

    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: music@adelaide.edu.au



    Students will receive feedback on their assessment tasks.
    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 (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.

  • 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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