MUSSUPST 3001 - Musicianship 3
North Terrace Campus - Semester 1 - 2020
General Course Information
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 Coordinator: Professor Tom Hajdu
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
Course Learning OutcomesLearning 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
University Graduate Attribute Course Learning Outcome(s)
- 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)
- steeped in research methods and rigor
- based on empirical evidence and the scientific approach to knowledge development
- demonstrated through appropriate and relevant assessment
- 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
- technology savvy
- professional and, where relevant, fully accredited
- forward thinking and well informed
- tested and validated by work based experiences
- 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
- a capacity for self-reflection and a willingness to engage in self-appraisal
- open to objective and constructive feedback from supervisors and peers
Required ResourcesLearning resources
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.
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,
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:
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
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
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
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,
Nicholson, Stuart. ‘Jazztronica: A Brief History of the Future of Jazz’ JazzTimes
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,
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
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 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.
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.
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
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 must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment must maintain academic standards.
Assessment SummaryAssessment 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
Due to the current COVID-19 situation, modified arrangements have been made to assessments to facilitate remote learning and teaching. Assessment details provided here reflect recent updates.
1. Exam - no longer offered. Instead submit online answers to four chosen History Questions.
2. Careers assignments to be submitted online.
Assessment DetailAssessment 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.
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: firstname.lastname@example.org
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.
Final results for this course will be made available through Access Adelaide.
- Academic Support with Maths
- Academic Support with writing and speaking skills
- Student Life Counselling Support - Personal counselling for issues affecting study
- International Student Support
- AUU Student Care - Advocacy, confidential counselling, welfare support and advice
- Students with a Disability - Alternative academic arrangements
- Reasonable Adjustments to Teaching & Assessment for Students with a Disability Policy
- LinkedIn Learning
Policies & Guidelines
- 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