Bachelor of Music - Musicianship Year 1 Unit Outline

Unit of Study - Musicianship

The following applies to Year One Bachelor of Music students.

Unit Outlines

Unit Name

MUSICIANSHIP

Unit Code

MUSHIP 101

Unit Duration

Year long unit over 4 terms

Year Level

One

Module

Theory and Aural

Module Codes per semester

MUSTHE1001

MUSTHE1002

Unit Coordinator

Dr Matthew Fields

Teaching Staff

Lecturer: Dr Matthew Fields
Sessionals: Greta Grybaitis, Dr Ern Knoop, Leonie Wobking, Bernadette Norton, Glen Carter-Varney

Core/Elective

Core

Pre/Co-requisites

Nil

Credit Points

3 per term; 12 per year
Course total = 36

Mode of Delivery

x Face to face
x Online
x Distance/independent learning (un-timetabled)
x Full-time
x Part-time
x External

Delivery/ Contact Hours

Lecture Theory 1 hour
Lecture Aural 1 hour
Tutorial n/a
Personal Study recommended - 3 hours

Award(s)

Bachelor of Music

Resource Requirements

  • Software
  • Computing resource requirements
  • Technical Help

             

Unit Aims

Theory
The aim of this year of study is to develop theoretical and aural skills at a high level, and comprehension of conventional and unconventional theoretical dialogue. Students will develop knowledge in melodic writing with modulation; the essential elements of two part basic counterpoint; and study the development of harmonic structures in the conventional and contemporary styles for knowledge that will improve compositional and performance preparation and understanding that is essential in a professional musical environment. Students will also develop knowledge and understanding of the fundamental rudiments that are essential in musical compositions. 
Aural

The Aural skills component of this unit will increase incrementally in difficulty, so that by the 4th term, students will have reached a level of proficiency in the area, equivalent to AGME Proficiency level. The objective of this module is for students, upon listening to various musical examples, to develop greater acuity in the perception of pitch and rhythm.  This will progress to a level of inner hearing appropriate for a musician at a professional level by the completion of the course. 

 

Learning Outcomes

On successful completion of this unit, students are expected to be able to:

  1. Demonstrate knowledge and understanding of the necessary essential notational rudiments. 
  2. Transcribe and compose harmonies using conventional and contemporary methods
  3. Exhibit compositional skills writing unison melodies as well as two part writing applying counterpoint methods.
  4. Acquire knowledge, evaluation and exploration skills to communicate compositional techniques and structure of musical works including woodwind instruments.
  5. Recognise musical styles and composers of influential periods in music history
  6. Aurally identify or reproduce rhythms and melodies in notated or vocal form.
  7. Aurally identify and score simple melodic components, including chords, intervals and cadences.
 

Teaching Outline

Year 1

THEORY

Term One

Workbook 1a

  • Scales (major, Aeolian mode, harmonic minor, melodic minor, treble, bass, alto, and tenor clefs)
  • Key signatures (major and minor, treble, bass, alto and tenor clefs)
  • Intervals (diatonic and chromatic, inverted and compound)
  • Chords (major, minor, diminished triad, augmented, major and minor 6ths and 7ths, dominant 7th)
  • Harmony (four principle cadences, figured bass, passing and cadential 6/4, Roman numerals and chord symbols.)
  • Scalar chords and scale degrees names
  • Introduction to modes

TERM TEST 1b

Term Two

Workbook 2a

  • A repeat and revision of previous term content
  • Harmony (including the dominant 7th chord)
  • Transposition/transcription
  • Modulation (to IV, V, and relative)
  • Melody writing (8-16 bars with modulation; 8-bar to given chords; to set verse with modulation)

TERM TEST 2b

Term Three

Workbook 3a

  • A repeat and revision of previous terms content
  • Chords (including dominant 7th, half and full diminished chords)
  • Harmony (including suspensions and unaccented passing notes)
  • Orchestral instruments (woodwind – piccolo, flute, clarinet, oboe, bassoon, contra bassoon)
  • Form (sonata or 1st movement form, rondo, variations, scherzo, minuet & trio, fugue)
  • Basic counterpoint without modulation

TERM TEST 3b

Term Four

Workbook 4a
Analysis Fugue in A minor No. 20 by J.S. Bach
Communicate knowledge of theory in the best possible method.
Will be a complete revision of the above and student will be given various exercises and assignments to complete in preparation for the November examinations.
FINAL EXAMINATION 4b

Aural Development (equivalent AGME Proficiency level)

Term One

Students will be given access to online resources each year which will have various exercises that are to be completed during each year of study to assist students with studies.  Resources: Practice tests have been placed onto MOODLE, online live USTREAM lecture viewing and to help students with their studies, students will be given access to Ear Master Cloud.

  • Scale recognition: Major, harmonic minor and melodic minor
  • Rhythm dictation: 2-6 bars. No rhythmic values shorter than a crotchet.
  • Interval recognition: major/minor 2nd, major/minor 3rd, Perfect 4th and Perfect 5

TERM TEST 1c

Term Two

Revision of the above to develop progressive aural development.

  • Melodic dictation: 2-4 bars. No rhythmic values shorter than a crotchet.
  • Rhythmic dictation: 4-6  bars. No rhythmic values shorter than a quaver.
  • Interval recognition: Tritone, major/minor 6th, major/minor 7th

TERM TEST 2c

Term Three

Revision of the above to develop progressive aural development.

  • Melodic Dictation: 4-8 bars. No rhythmic values shorter than a quaver.
  • Rhythmic Dictation: 4-8 bars. No rhythmic values shorter than a quaver.
  • Sight singing: 2-4 bar examples
  • Cadence recognition
  • Interval recognition: all chromatic intervals

TERM TEST 3c

Term Four

GENERAL REVISION to develop progressive aural development.

  • 1. Melodic Dictation (reiteration of previous term): 4-8 bars. No rhythmic values shorter than a quaver.
  • Rhythmic Dictation (reiteration of previous term): 4-8 bars. No rhythmic values shorter than a quaver.
  • Sight singing: 4-10 bar examples.

FINAL EXAMINATION 4c


Prescribed and recommended readings:

Required textbook(s)

  • Online Books and Video tutorials (MOODLE)
  • AGME - Theory textbook (1)                        
  • AGME – Theory workbooks (4)
  • AGME – Past practice test exercises/answers and audio tests (CD)
  • AGME – Ear training book
  • Ear Master (Cloud)

Reference Materials
Online video will be available on MOODLE.  DVD’s are also available for students for many subject areas related to performance.  Students can view the list of DVDs available and make a request, which can be given/posted to students in groups of 5 DVDs at any one time. Upon completion of viewing students are required to return them and then they will be supplied the next group of DVD’s.
Reading List
William Drabkin. "Scale." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/24691>.
H.K. Andrews. "Whole-tone scale." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/30242>.
Scholes, Percy, et al. "scale." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5921>.
Carl Dahlhaus, et al. "Harmony." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/50818>.
Klaus-Jürgen Sachs and Carl Dahlhaus. "Counterpoint." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/06690>.
"Counterpoint." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t237/e2498>.
Mark Lindley, et al. "Interval." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/13865>.
Paul M. Walker. "Fugue." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/51678>.
Dunsby, Jonathan. "modulation." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4477>.
Ter Ellingson. "Transcription (i)." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/28268>.
Arnold Whittall. "Form." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/09981>.
Arnold, Denis, et al. "form." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2624>.
Nagley, Judith and Arnold Whittall . "cadence." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e1072>.
Christensen, Thomas. “Music Theory and the Mainstream” Intégral, Vol. 14/15, (2000/2001), pp. 11-14 Published by: Intégral Article Stable <http://www.jstor.org/stable/40214070>

 

Student assessment 

Summary:
Term Workbooks (4)                                      15% (1 x 3% + 3 x 4%)
Term Theory Exams (3)                                 15% (3 x 5%)
Term Aural Exams (3)                                                15% (3 x 5%)
Aural final examination (1)                              15%
Theory final examination (1)                           40%

Assessment Type

When assessed

Weighting
(% of total unit marks)

Learning Outcomes Assessed

Assessment 1a
Type: Workbook
Word length: n/a
Topic: Students will complete a set of exercises to prepare them for the term test comprising the following:

  • writing and identifying scales, key signatures and chords
  • identifying intervals and scalar chords
  • harmony writing by learning and applying the figured bass rules for passing and cadential 6/4 and the four principle cadences

Term 1 Week 7

3%

1, 2

Assessment 1b
Type: Theory Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term one lectures and workbook.

Term 1 Week 9

5%

1, 2

Assessment 1c
Type: Aural Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term one lectures and online practice tests.

Term 1 Week 9

5%

1, 4, 5, 6, 7

Assessment 2a
Type: Workbook
Word length: n/a
Topic: Students will complete a set of exercises to prepare them for the term test comprising the following:

  • writing and identify scales, key signatures and chords
  • identifying intervals and scalar chords
  • harmony writing using figured bass rules for passing and cadential 6/4, four principle cadences and application of the dominant 7th chord
  • writing transpositions/transcriptions
  • identifying and applying modulations
  • writing melodies with modulation and to a verse
  • answering general knowledge questions on fundamental musical rudiments

Term 2
Week 7

4%

1, 2, 3, 4

Assessment 2b
Type: Theory Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term two lectures and workbook.

Term 2
Week 9

5%

1, 2, 3, 4

Assessment 2c
Type: Aural Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term two lectures and online practice tests.

Term 2
Week 9

5%

1, 4, 5, 6, 7

Assessment 3a
Type: Workbook
Word length: n/a
Topic: Students will complete a set of exercises to prepare them for the term test comprising the following:

  • writing and identify scales, key signatures and chords
  • identifying intervals, scale degrees and scalar chords
  • harmony writing using figured bass rules for passing and cadential 6/4, four principle cadences, dominant 7th chord including application of suspensions and unaccented passing notes
  • writing transpositions/transcriptions
  • identifying and applying modulations
  • writing melodies with modulation and to a verse
  • answering questions on orchestral instruments
  • studying and answering questions on form
  • writing basic counterpoint without modulation

Term 3
Week 7

4%

1, 2, 3, 4, 5

Assessment 3b
Type: Theory Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term three lectures and workbook.

Term 3
Week 9

5%

1, 2, 3, 4, 5

Assessment 3c
Type: Aural Exam
Word length: n/a
Topic: Students will be examined on everything they have studied in term three lectures and online practice tests.

Term 3
Week 9

5%

1, 4, 5, 6, 7

Assessment 4a
Type: Workbook
Word length: n/a
Topic: Students will complete a set of exercises comprising a complete revision of annual lectures and workbooks to prepare them for the final exam including an analysis on a set fugue.

Term 4 Week 7

4%

1, 2, 3, 4, 5

Assessment 4b
Type: Final Theory Exam
Word length: n/a
Topic: Students will be examined on everything they have studied throughout the annual lectures and workbook.

Term 4 Week 9

40%

1, 2, 3, 4, 5

Assessment 4c
Type: Final Aural Exam
Word length: n/a
Topic: Students will be examined on everything they have studied throughout the annual lectures and online practice tests.

Term 4 Week 9

15%

1, 4, 5, 6, 7

 

Graduate Attributes

Successfully completing this unit will contribute to the recognition of attainment of the following graduate attributes.


A. Research, critical thinking and inquiry

Learning Outcomes

A1. adjust knowledge to new circumstances to problem solve creatively and with imagination in public performance/professional practice

2, 3, 5, 6, 7

A2. research, analyse, evaluate, think critically, organize evidence clearly and logically in a range of circumstances, including written work, performance and professional practice

 4, 6, 7

B. Knowledge and Skills

 

B1. knowledge of music technologies required in performance/professional practice

6, 7

B2. advanced knowledge of music theory, aural, and performance/professional practice in either solo or group settings

1, 5, 6, 7

C. Communication

 

C1. communicate effectively to a variety of audiences using oral,  written, audio and visual applications to extend learning, (including while directing ensemble groups, instrumental tutoring,  and other professional practice), and utilising  assessment, negotiation and understanding

4, 6, 7

C2. ability to contribute to teams and resolve conflicts whilst supervising group tasks, performing or other professional practice

6

D. Independent Learning

 

D1. independent learning in a self-directed manner while being able to reflect on and evaluate work practices and performance to achieve goals

1, 2, 3, 4, 6, 7

E. Creative and Professional Understanding

 

E1. demonstrate professional understanding and respect for standards of current music knowledge, pedagogy, performance/professional practice.

2, 3, 4, 5, 6

E2. open to innovative concepts, procedures and philosophies in performance/professional practice and application of creativity.

2, 4, 6