MUSPOP 3201 - Song Writing & Performance 3
North Terrace Campus - Semester 1 - 2020
General Course Information
Course Code MUSPOP 3201 Course Song Writing & Performance 3 Coordinating Unit Elder Conservatorium of Music Term Semester 1 Level Undergraduate Location/s North Terrace Campus Units 3 Contact Up to 4 hours per week Available for Study Abroad and Exchange Y Prerequisites MUSPOP 2202 or MUSPMACT 2202 Restrictions Available to BMus, BMedia (Pop Music Major), DipMus students only Course Description Expanding concepts introduced previously through Song Writing and Performance 1 and 2, this course enables students to develop advanced creative and technical skills that build on their previous experience in composition and song writing, arranging, orchestrating and music production in a contemporary popular music context. A particular focus of this course is on introducing experimental approaches to music, exploring intersections between contemporary popular music and the musical Avant Garde. Students will research the fringes of contemporary popular music in order to both broaden and deepen their knowledge and understanding of music. They will apply this knowledge practically through pushing the boundaries of their creative work in a supportive environment, and learn skills for the interpretation and evaluation of such work. Through the course, students will develop both the knowledge and practical skills to move their creative work beyond established contemporary forms and techniques. Seminars introduce experimental compositional techniques, and explore the artistic movements and work of key practitioners that led to the development and adoption of these techniques. A key components of the seminar are the development of a research project, and a portfolio of compositions. Workshops focus on the development of advanced strategies for the preparation and performance of live original music. Students will work in small groups to prepare their original work for live performance. A key focus of the workshops is promoting student autonomy in the organisation of their ensembles, and encouraging students to engage with the local music industry through off-campus performances.
Course Coordinator: Dr Luke Harrald
The full timetable of all activities for this course can be accessed from Course Planner.
Course Learning OutcomesOn successful completion of this course students will develop:
1. An understanding of advanced compositional and music production principles 2. An understanding of the historical, cultural and philosophical contexts of experimental music practice – particularly as it relates to contemporary popular music 3. Creativity and individuality as an artist – to develop their own compositional ‘voice’ 4. A cogent and quality creative portfolio in recorded and notated formats 5. The ability to interpret and perform the compositions of others 6. Advanced understanding of the roles, responsibilities and activities involved in contemporary music performance
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, 5, 6 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
1, 2, 3, 4, 5, 6 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
5, 6 Career and leadership readiness
- technology savvy
- professional and, where relevant, fully accredited
- forward thinking and well informed
- tested and validated by work based experiences
3, 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 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
3, 5, 6
Required Resources• Class handouts and materials placed on MyUni.
• Each week students will be required to bring their instruments, or other technology they require to realise their group work.
Biesenbach, K & Ross, A. (2015) Bjork Archives. MOMA, New York.
Biesenbach, K & Cherix, C. (2015) Yoko Ono: One Woman Show 1960 – 1971. MOMA, New York.
Cage, John. (2011) Silence: Lectures and Writings by John Cage. 50th Anniversary Edition, with forward by Kyle Gann. Wesleyan University Press, Middletown, CT.
Chase, Wayne. (2006) How Music Really Works. Roedy Black Publishing, Vancouver.
Covach, John. (2009) What’s that sound: an introduction to rock music and its history. Second edition. W.W. Norton & Company, New York.
Dibben, Nicola. (2014) Bjork’s Biophilia. Network Educational Press, UK.
Kahn, D. (1999) Noise, Water, Meat. MIT Press, Cambridge, Massachusetts.
Lin, Marvin (2010) Radiohead’s Kid A. Continuum Publishing Group, New York.
Negroponte, N. (1998) Beyond Digital. Wired 6(12)
Nyman, Michael. (1974) Experimental Music: Cage and Beyond. Second Edition. Schirmer Books, New York. Priest, Gail. (2008) Experimental Music: Audio Explorations in Australia. UNSW Press, Sydney.
Russolo, L. (1987) The Art of Noises. Pendragon Press, New York. Originally published in 1913.
Stavrou, Michael Paul. (2003) Mixing with Your Mind : Closely Guarded Secrets of Sound Balance Engineering. First Edition. Flux Research, Mosman, NSW.
Wiedenbaum, Marc. (2014) Aphex Twin’s Selected Ambient Works Volume II. Bloomsbury, London.
Wishart, T & Emmerson, S. (1996) On Sonic Art. Revised Edition. Harwood Academic Publishers, Amsterdam.
Wood, Clement (1936) The Complete Rhyming Dictionary and Poet’s Craft Book. Dell Publishing, New York.
New Weird Australia http://newweirdaustralia.com
Experimental Music: Audio Explorations in Australia http://www.experimentalmusicaustralia.net
Deep Listening Institute http://www.deeplistening.org
The Music Library is housed within the Barr Smith Library, and is an excellent source for music, literature and recordings.
Online LearningLearning materials and assessment will be placed on MyUni. Usage of MyUni will include Announcements, Digital readings, External web-links and Recordings of classes; particularly student performances to enable students to critically reflect on their experiences in class.
Learning & Teaching Activities
Learning & Teaching ModesThe course structure and content is delivered through a range of classes and materials. Class delivery modes include a weekly seminar and practical workshop. The classes in this course use a format where students are presented with theoretical and/ or practical content through the seminar. The theoretical content creates a topic framework that students then expand theoretically through discussions and exercises during the seminar, and practically through performing their work in the workshop. Students will also be expected to further expand the topics presented using out-of-class resources that are presented online, improve their studio skills through regular bookings of the recording studio, and rehearsing in their own time. The online resources and additional practical work will compliment, reinforce and extend the concepts presented.
The classes provide theoretical explanations of composition, production and song writing techniques; discussion of their creative and technical application in various styles and genres; and their practical application to creativity through students preparing their work for both studio recording and performance.
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.
WORKLOAD TOTAL HOURS 1 x 2-hour seminars per week 24 hours per semester 1 x 2-hour workshop per week 24 hours per semester 6 hours rehearsals & readings per week 72 hours per semester 1 hours research per week 12 hours per semester 2 hours assignment preparation per week 24 hours per semester TOTAL = 156 hours per semester
Learning Activities SummaryThe course structure and content will examine the areas below through weekly theoretical and/or practical demonstrations and exploration. The following list of topics is supplied as a guide, and may change depending on needs arising through the semester. Further detail regarding weekly content can be found on MyUni.
WEEK SEMINAR TOPIC / WORKSHOP TOPIC 1 Course Overview and Introduction to Experimental Music / Improvisation Workshop 1 2 Trajectories of Experimentalism in Popular Music / Improvisation Workshop 2 3 Materials of Experimental Music / Improvisation Workshop 3 4 Minimalism to Ambient to Generative Music / Improvisation Workshop 4 5 Glitch and Noise – The Aesthetics of Failure / Improvisation Workshop 5 6 Experimental Approaches to Lyrics / Improvisation Assessment 7 Live Electronic Music, Drum & Bass, IDM / Ensemble Rehearsal 8 Listening and Experimental Music / Ensemble Rehearsal 9 Narrative and Sound / Ensemble Rehearsal 10 Alternate modes of Presentation – Installation Art / Ensemble Rehearsal 11 Structured Content - continue with Portfolio / Ensemble Rehearsal 12 Structured Content - continue with Portfolio / Ensemble Rehearsal
Specific Course RequirementsEMU Facilities
This course will involve using the resources of the Electronic Music Unit (EMU). This includes facilities such as studios, recording spaces and digital audio workstations. For more information about these facilities and how to make bookings go to the EMU website: http://www.music.adelaide.edu.au/emu
Access and use of EMU is based upon the following:
Users must complete and pass the EMU Guide Assessment (EGA). In order to pass the EGA users must receive a 90% or above grade. Users will have a maximum of 3 attempts at passing the EGA before being prohibited from taking the assessment further. If a user fails to pass the EGA after 3 attempts, or doesn’t pass by the end of week 4 of the course, they will not be permitted to continue the course and won’t be provided access or permission to use any of the EMU facilities.
Users agree to and sign the EMU User Agreement (EUA). Users found in breach of the EUA will automatically have their access and booking privileges suspended. An initial breach will result in a 4-week suspension. Any subsequent breach will result in suspension until the start of the next academic year. Information is available on the EMU website: https://www.music.adelaide.edu.au/emu/intranet/emu_guide/
This course will also require that students rehearse both individually and as a part of their group. For individual practice, students may book and use any of the rehearsal rooms contained within the Conservatorium with a limit of two hours per day for any individual space as per the Conservatorium’s Rehearsal guidelines. For more specific group work, rehearsal space with a backline (Drumkit, Guitar and Bass Amplifiers and an electric piano) and PA system has been provided in Schulz B14. Bookings of this space may be made through the EMU online booking system: http://c07d705ldd6k.ad.adelaide.edu.au/bookings/index.php
A dB meter is installed in this space. If you exceed the set dB limit for the space, the lights will flash. Levels should not exceed the 88dB limit, which is considered the safe working limit for venues around Australia. Students found exceeding these levels will have their booking privileges revoked for two weeks, and repeat offenders may have their booking privileges revoked for the remainder of the academic year.
All spaces must be left in a neat and tidy state ready for the next user when you finish rehearsing.
Small Group Discovery ExperienceThrough this course, students will compose original creative work. In small groups, students will prepare their original compositions for live performance under the guidance of a mentor. Through this process, students will learn collaborative and research skills, enhance and further develop their creative process, and disseminate their new work publicly through live performance. Students will meet with their mentor 5 times during weeks 7 – 12 in small groups of 4 - 5.
Groups rehearse simultaneously in individual rehearsal spaces, with the mentor moving between the groups as required.
A variety of performance venues are used each semester, including on-site venues such as UniBar and Scott Theatre, and off-site venues such as The Wheatsheaf Hotel, The Jade Monkey, The Crown and Sceptre, The Ed Castle, and The West Oak.
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 COURSE LEARNING OUTCOMES Research Essay Summative 20% 1, 2, 3 Improvisation Assessment Formative and Sumative 20% 5, 6 Portfolio Summative 30% 1, 3, 4 Recital Summative 30% 1, 2, 3, 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.
In light of changes to the assessment structures, all assessments will be now conducted through MyUni. Portfolio assignment will be submitted on MyUni as previously stated, however there may be some adjustments made with regard to the recording/production criteria. The recital assessment will change in lieu of live performance. A variety of options will be made available. These may include: recording a live performance; playing songs solo, and uploading this recording for assessment; live streaming and other online options. If circumstances permit in due course, the recitals may be performed live.
Assessment Related RequirementsExpectation & Penalty
As per Conservatorium policy, active and positive participation in 100% of classes is expected. Any student who attends less than 80% of required classes without approved leave may result in a 5 (five) mark penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the semester for the relevant component i.e. after all other assessments have been completed and calculated. Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or co-ordinator’s discretion, be regarded as an unapproved absence.
The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases leave may be approved by the relevant staff member - students should contact the lecturer and gain approval prior to taking the leave.
Assessment DetailResearch Essay: 2000 words, not including Bibliography and Referencing. Students will select a research topic based on expanding one of the seminar topics or a negotiated topic of their own related to Experimental Music. The research undertaken through the Essay will be used to broaden the student’s approach to their set work in the portfolio.
Improvisation Proficiency Exam: Students will be assessed practically in class on skills they have learned through the workshop via solo and small group improvisations.
Portfolio: The Portfolio represents the major creative assessment for the semester and will involve the composition of a minimum of three songs, one of which will be a set work. For this assessment, the research undertaken in the Research Essay will inform the set work. All creative works will be required to be recorded for submission, either through groups assigned in the workshop, or alternatively students may organise their own groups.
Recital: Students will be assessed on their contribution to the preparation and delivery of a public recital of their work, held during the examination period. Central to this assessment is the role they play in the delivery of both their work, and that of other students, and their level of performance in the Recital. As part of this assessment, students will be required to submit a log of all out of class rehearsals, including day, time, length and personnel in attendance, and 10% of their grade will be tied to workshop participation.
SubmissionAll written and recorded materials will be submitted online via MyUni. Practical assessments will take place either in-class, or at the off-campus performance. Note that due to practicalities, extensions for practical assessments are not possible.
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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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
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