Bachelor of Music - Musicianship Year 3 Unit Outline

Unit of Study - Musicianship

The following applies to Year Three Bachelor of Music students.

Unit Outlines

Unit Name

MUSICIANSHIP

Unit Code

MUSHIP 303

Unit Duration

Year long unit over 4 terms

Year Level

Three

Module

Theory and Aural

Module Codes per semester

MUSTHE3001

MUSTHE3002

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

Year One and Two

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
This being the final year of study, aims to develop a strong professional theoretical and aural musical ability at an advanced level in all students, which will extend upon the knowledge acquired over the previous two years of study. This will demand longer compositional melodic writing, and free counterpoint will require increased three part species on a given melody plus extensive imitation and suitable modulation with more intricate rhythmic demands to apply part writing knowledge in professional practice. Students will also develop knowledge and understanding of texture in compositions, timbre and the musicals demands of the written score in performance.
Aural
Having completed two years of extensive study in aural development, students will now be concentrating on higher skill levels that are expected in a professional musician.  These will include more complicated rhythmic and melodic dictations including all simple and compound time signatures, which encompasses classical, Latin American and modern music rhythmic structures. Additionally students will be trained to recognise harmonic changes that occur in the varying styles of music that a professional musician will encounter.

Learning Outcomes

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

  1. Demonstrate a sound understanding of all theoretical musical requirements.
  2. Demonstrate knowledge of transcribing and/or transposing at an advanced level.
  3. Demonstrate implementation of compositional skills composing two or three part writing as well as three or four part species counterpoint with additional melodic line, extensive imitation and modulations.
  4. Display proficiency in analysis, evaluation and exploration of thematic material in set works.
  5. Demonstrate an ability to create holistic musicianship encompassing various styles of music awareness.
  6. Exhibit understanding of chordal function applied to choral, orchestral or band arrangements involving musical texture and instrumental balance to gain musical colour to create the right timbre.
  7. Demonstrate an understanding of all the important structural forms in musical genres of classical and contemporary music
  8. Appreciate a variety of performances with musical perception and interpretation to aurally analyse and assess various performances.
  9. Aurally identify and reproduce intricate rhythms and melodies.
  10. Aurally discriminate various harmonic structures and counterpoint species.
 

Teaching Outline

Year 3

THEORY

Term One

Workbook 1a
1.  SCALES AND MODES
All major, natural, harmonic, and melodic minor scales; chromatic scales; Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Lochrian modes.
2.  HARMONY
Unfigured bass or soprano in 4-part vocal harmony.  Vocabulary: major and minor triads; the dominant 7th, 9th, 11th, and 13th; secondary 7ths including the full and half diminished 7th; passing and cadential 6/4 progressions including the diminished triad in 1st inversion; the suspended 4th; unaccented passing and auxiliary notes.
3.  FREE COUNTERPOINT
The addition of a melodic line to either a given bass or soprano part.  Include imitation and modulation.
4.  MELODY
Writing a melody to a given form including modulation/s to nearby related keys.
5.  ORCHESTRAL INSTRUMENTS
Harp
TERM TEST 1b

Term Two

Workbook 2a
A repeat and revision of previous term content
1.  HARMONY
Including the Neapolitan chord; the Tierce de Picardie and ‘borrowed’ chords 
2.  ORCHESTRAL INSTRUMENTS
Including Percussion
3.  SYMPHONY
Development of the Classical Symphony
TERM TEST 2b

Term Three

Workbook 3a
A repeat and revision of previous terms content
1.  HARMONY
Including augmented 6th chords; single, double, and triple suspensions; accented passing and auxiliary notes.
TERM TEST 3b

Term Four

Workbook 4a
A repeat and revision of previous terms content
1.  HARMONY
Including chromatic/borrowed chords
2.  SYMPHONY
Including Set Work: Beethoven Symphony No. 5

FINAL EXAMINATION 4b

Aural Development Licentiate 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 student with studies.  Practise tests have been placed onto MOODLE, online live USTREAM and to help students with their studies, students will be given access to Ear Master Cloud.

  • Melodic dictation: Simple atonal melodies 2-4 bars long
  • Chord recognition: major and minor 7ths; half and full diminished

TERM TEST 1c

Term Two

Revision of the above to develop progressive aural development.

  • Melodic dictation: Simple atonal melodies 2-6 bars long
  • Chord recognition: minor major 7ths; dominant 7ths; dominant 7ths sus 4; dominant 9ths
  • Rhythmic exercises: Clapping notated examples the feature subdivisions of 3, 4 and 6

TERM TEST 2c

Term Three

Revision of the above to develop progressive aural development.

  • Melodic dictation: Simple atonal melodies 2-6 bars long
  • Chord recognition (reiteration of all chords covered in terms 1 and 2): major and minor 7ths; half and full diminished; minor major 7ths; dominant 7ths; dominant 7ths sus 4; dominant 9ths
  • Rhythmic exercises: Clapping notated examples feature subdivisions of 3, 5 and 7

TERM TEST 3c

Term Four

GENERAL REVISION to develop progressive aural development.

  • Simple atonal melodies 2-6 bars long
  • Chord recognition (reiteration of all chords covered in terms 1 and 2): major and minor 7ths; half and full diminished; minor major 7ths; dominant 7ths; dominant 7ths sus 4; dominant 9ths
  • Rhythmic exercises: Clapping notated examples the feature various cross rhythms.

FINAL EXAMINATION 4c

 

Prescribed and recommended readings:

Required textbook(s)

  • Online Books and Video tutorials (MOODLE)
  • AGME - Theory textbooks (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
Harold S. Powers, et al. "Mode." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/43718pg3>.
Julian Rushton. "Half-diminished seventh chord." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/12217>.
"Species counterpoint." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/26378>.
Jan Larue, et al. "Symphony." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/27254>.
"Symphony." 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/e10019>.
Jan Larue, et al. "Symphony." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 20 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/27254pg3>.
Callahan, Michael. “Improvising Motives: Applications of Michael Wiedeburg's Pedagogy of Modular Diminutions” Intégral, Vol. 24, Special Issue in Honor of Robert Wason (2010), pp. 29-56. Published by: Intégral Article Stable URL:
<http://www.jstor.org/stable/41495293>
Morris, Robert D. “The Structure of First-Species Canon in Modal, Tonal and Atonal Musics”
Intégral, Vol. 9, (1995), pp. 33-66. Published by: Intégral. Article Stable URL: <http://www.jstor.org/stable/40213964>
Kraft, Leo. “A New Approach to Species Counterpoint” College Music Symposium, Vol. 21, No. 1 (Spring, 1981), pp. 60-66. Published by: College Music Society, Article Stable URL: <http://www.jstor.org/stable/40375161>
Crocker, Richard L. “Discant, Counterpoint, and Harmony”, Journal of the American Musicological Society, Vol. 15, No. 1 (Spring, 1962), pp. 1-21, Published by: University of California Press on behalf of the American Musicological Society. Article DOI: 10.2307/830051.  Article Stable URL:
<http://www.jstor.org/stable/830051>

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
(e.g. Assignment - 2000 word essay (specify topic)
Examination (specify length and format))

When assessed
(eg Week 5)

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, modes, key signatures and chords
  • harmony writing (unfigured bass) - write to a bass or soprano part applying rules for passing and cadential 6/4 progression including root,1st, 2nd inversion chords, dominant 7th, 9th, 11th, 13th, secondary 7ths, full and half diminished 7th chords plus suspended 2nd modulation to related keys, unaccented passing and auxiliary notes.
  • answering general theoretical knowledge questions on fundamental orchestral instruments
  • write melodies to given form with modulation
  • write free counterpoint to a given bass or soprano part including imitation and modulation

Term 1 Week 7

3%

1, 2, 3, 6,

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, 3, 6,

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%

8, 9, 10

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 identifying scales, modes, key signatures and chords
  • harmony writing (unfigured bass) - write to a bass or soprano part applying rules for passing and cadential 6/4 progression including root,1st, 2nd inversion chords, dominant 7th, 9th, 11th, 13th, secondary 7ths, full and half diminished 7th chords plus suspended 2nd modulation to related keys, unaccented passing, auxiliary notes, Neapolitan 6th, and Tierce de Picardie and borrowed chords.
  • answering general theoretical knowledge questions on fundamental musical rudiments and orchestral instruments
  • writing melodies to given form with modulation
  • writing free counterpoint to a given bass or soprano part including imitation and modulation
  • analysis of the symphony

Term 2
Week 7

4%

1, 3, 4, 6,

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, 3, 4, 6,

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%

8, 9, 10

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 identifying scales, modes, key signatures and chords
  • harmony writing (unfigured bass) - write to a bass or soprano part applying rules for passing and cadential 6/4 progression including root, 1st, 2nd inversion chords, dominant 7th, 9th, 11th, 13th, secondary 7ths, full and half diminished 7th, Neapolitan 6th, and Tierce de Picardie and borrowed chords, modulation to related keys, accented and unaccented passing, auxiliary notes, single, double and triple suspensions.
  • answering general theoretical knowledge questions on orchestral instruments (brass), the opera, oratorio and concerto.
  • writing melodies with modulation and to a verse
  • writing free counterpoint to a given bass or soprano part including imitation and modulation
  • analysis of the symphony

Term 3
Week 7

4%

1, 2, 3, 4, 5, 6, 7

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, 6, 7

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%

8, 9, 10

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 symphony.

Term 4 Week 7

4%

1, 2, 3, 4, 5, 6, 7

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, 6, 7

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%

8, 9, 10

 

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, 9, 10

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

 3, 4, 6, 7, 8, 10

B. Knowledge and Skills

 

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

8, 9, 10

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

1, 3, 4, 6, 7, 9, 10

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

1, 2, 3, 4, 6, 7, 9, 10

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

 

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

3, 4, 6, 8, 9, 10

E. Creative and Professional Understanding

 

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

1, 6, 7, 8

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

3, 6