MUSSUPST 3001 - Ways of Listening and the Future of Work

North Terrace Campus - Semester 1 - 2023

This course prepares students to enter the workforce by pursuing three tracks: 1) an examination of the history of music from the 20th and 21st centuries, 2) a pragmatic survey of vocational opportunities, and 3) a study of the principles of collaboration and leadership skills. By examining the landscape of 20th and 21st-century musical aesthetic and philosophical ideas, students can leverage these ideas to better understand their relationship to musical culture and thereby more clearly identify possibilities after graduation. A diverse array of guest presenters offers valuable real-world perspectives so students can see the vocational landscape more clearly. The study of collaboration through group work will allow students to develop skills that make them valuable contributors to organizations and institutions; moreover, this group work can foster the incubation of new projects that may extend to students' post-graduation careers. This course aims to help students define their roles and discover opportunities in the workplaces of the future.

  • General Course Information
    Course Details
    Course Code MUSSUPST 3001
    Course Ways of Listening and the Future of Work
    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
    Assessment Career portfolio 30%, Styles test 30%, Essay and Bibliography 40%
    Course Staff

    Course Coordinator: Professor Tom Hajdu

    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 MacBeth LT
    History lecture Wednesday 2-4 pm Napier G04
  • Learning Outcomes
    Course Learning Outcomes
    Learning outcomes

    On successful completion of this course the students will have acquired:

    1. a conceptual understanding of the range of music developed since the early 20th century to the present, with an emphasis on professional music careers
    2. an awareness of career opportunities and pathways in the music industry
    3. A foundational appreciation of the current theoretical and scientific understanding of the phenomenon of music
    4. ability to ideate/collaborate and work with others effectively around music opportunities
    5. Creative engagement with digital materials including music visualization, artificial intelligence, and real-time digital collaboration
    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)

    Attribute 1: Deep discipline knowledge and intellectual breadth

    Graduates have comprehensive knowledge and understanding of their subject area, the ability to engage with different traditions of thought, and the ability to apply their knowledge in practice including in multi-disciplinary or multi-professional contexts.


    Attribute 2: Creative and critical thinking, and problem solving

    Graduates are effective problems-solvers, able to apply critical, creative and evidence-based thinking to conceive innovative responses to future challenges.


    Attribute 3: Teamwork and communication skills

    Graduates convey ideas and information effectively to a range of audiences for a variety of purposes and contribute in a positive and collaborative manner to achieving common goals.


    Attribute 4: Professionalism and leadership readiness

    Graduates engage in professional behaviour and have the potential to be entrepreneurial and take leadership roles in their chosen occupations or careers and communities.


    Attribute 5: Intercultural and ethical competency

    Graduates are responsible and effective global citizens whose personal values and practices are consistent with their roles as responsible members of society.


    Attribute 7: Digital capabilities

    Graduates are well prepared for living, learning and working in a digital society.


    Attribute 8: Self-awareness and emotional intelligence

    Graduates are self-aware and reflective; they are flexible and resilient and have the capacity to accept and give constructive feedback; they act with integrity and take responsibility for their actions.

  • 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


    The Music Library located in the Hartley building is an excellent source for music, literature and recordings:

    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:

    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:

    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

    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
    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,


    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 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
    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

    The information below is divided into history, collaboration and careers lecture topics. It is intended as a guide, and may change in response to needs arising during the semester. 

    History and Collaborations Topics
    The History section consists of presentations based on themes or topics which contain examples from a wide range of musical practices. By creating topics or themes, we are able to leverage the learning community created by the students and analyze how this evolution of music in the 20th/21st centuries affects music-makers which better prepare students for opportunities after graduation. Collaboration lectures help better prepare students to work with others after graduation. Topics include:

    Week 1: Introduction and Overview

    Week 2: Tradition + The Present;  Live Performance

    Week 3: Media; Noise + Silence

    Week 4: Collaboration 1

    Week 5:  Indeterminacy + Constraint; Appropriation + Mimicry

    Week 6:Collaboration 2

    Week 7:Uses of Music; Future Music

    Week 8: Collaboration 3

    Week 9: Collaboration 4 

    Week 10: Student Presentations 1

    Week 11: Student Presentations 2

    Week12: Student Presentations 3

    Careers topics
    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. The Careers section consists of local professionals providing students with insights and tools to help them shape their future.

  • 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
    Biography and Curriculum Vitae Formative 12% 2,4
    History Quizzes Summative 32% 1,3,5
    Reflective Journal Summative 23% 2,4
    Team Presentation Summative 15% 2,4,5
    Final Exam Summative 18% 1,3,5

    1. Biography and Curriculum Vitae to be submitted online
    2. History Quizzes will be online through the website
    3. Reflective Journal will be submitted online
    4. Team presentation will be in person
    5. Final Exam - will be open book and online

    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:

    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:

    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 ( 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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