Bachelor of Music - Orchestration Year 3 Unit Outline

Unit of Study - Orchestration

The following applies to Year Three Bachelor of Music students.

Unit Outlines

Unit Name

ORCHESTRATION

Unit Code

ORCHST 303

Unit Duration

Year long unit over 4 terms

Year Level

Three

Module

Arranging

Module Code

ORCHAR3001

Year Coordinator

Greta Grybaitis

Unit Coordinator

Glenn Carter-Varney

Teaching Staff

Lecturer:      Leonie Wobking
Sessionals: Dr Ern Knoop, Mary Ann Mangion-Needham

Core/Elective

Core

Pre/Co-requisites

Year One and Two

Credit Points

2 per term; 8 per year
Course total = 24

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 1 hour
Personal Study recommended - 2 hours

Award(s)

Bachelor of Music

Resource Requirements

  • Software
  • Computing resource requirements
  • Technical Help

             

Unit Aims

This unit aims to achieve a high level of understanding in students towards writing full arrangements in a range of styles using a variety of instrumentation and compositional techniques.  Students will apply instrumentation, composition and arranging knowledge to create original major works from a small band to that of a large orchestral arrangement at a professional level by the end of the course.  Analysis and communication skills will be developed through self-evaluation of written creative works compared to famous works increasing awareness of the challenges required to produce works of a professional standard for employment as a composer.

Learning Outcomes

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

  1. Demonstrate expertise in musicianship utilised in personal and professional arrangements with varying styles from rock, blues, jazz, folk and classical music.
  2. Display knowledge and understanding of arranging to produce arrangements with strong musical structure and rhythmical sense, appropriate part writing including use of counterpoint and successful harmonisation.
  3. Use experimentation and creativity with a good technical ability and understanding of instrument ranges and capabilities to combine a wide and diverse array of instrumental combinations, dynamics, musical expression, and rhythmic patterns to create professional original musical arrangements.
  4. Display confidence in using technology used in the production of arrangements with knowledge and ability to produce MIDI recordings used to accompany and support students as well as professional musicians.
  5. Critically analyse and self reflect on compositions and communicate effectively to outline the rationale for the style and instrument choice.
 

Teaching Outline

Year 3

ARRANGING

Term One

  • Essential Requirements for Arranging
  • Arranging for Solo, Groups, Vocal or Symphonic, or other Instrumental and Voice Range
  • Rimsky Korsakov Arranging Methods

Term Two

  • Arranging a Song
  • Texture and Timing
  • History Of Music: Counterpoint & Modes
  • Stylistic approaches
  • Genre

Term Three

  • Arranging.
  • Division and Addition
  • Words
  • Timbre
  • Exploring Jazz arranging by Chuck Israels

Term Four

  • Orchestral Techniques
  • The Orchestra


Prescribed and recommended readings:

Required textbook(s)

  • Online Books (MOODLE)
  • AGME – Orchestration Textbook
  • AGME – Theory Textbook
  • AGME – Finale/Sibelius Textbooks
  • Assignment Guidelines (4)
  • Lecture notes from your lecturer relating to Orchestration for extra reading material.
  • Oxford Music Online, a subscription to Grove Music Online includes The New Grove Dictionary of Music and Musicians 2/e, The New Grove Dictionary of Opera, the new Grove Dictionary of Jazz 2/e, The Oxford Companion to Music and The Oxford Dictionary of Music 2/e, plus updated content bibliographies, specially-commissioned articles only available online, and new and revised entries from the forthcoming The Grove Dictionary of American Music.
  • JSTOR Journals and book subscriptions
  • Lynda.com video tutorials

Reference Materials
Online streaming videos available of live tutorials.
Additional material on DVD if requested are given/posted to students in groups, upon completion of viewing students are required to return DVDs and then they will be supplied the next group of DVD’s.

  • Exploring Music
  • Contemporary music course by Clive Cockburn
  • Creative Inspirations by Mark Mothersbaugh

Reading List

  • Melodies and their Treatment: A.J. Leckie
  • Chords Scales and Simple Improvisation: Books 1+2. by Michael Furstner
  • Blues Basics for Beginners by Michael Furstner
  • Scales and Arpeggios for the Jazz Pianist by Michael Furstner
  • A Guide to Rock and Pop
  • A complete idiot’s guide to arranging and orchestration by Michael Miller
  • Teaching popular music by Peter Dunbar-Hall
  • The Craft of Lyric Writing by Sheila Davis
  • Rock, Jazz & Pop Arranging by Daryl Runswick
  • Writing music for hit songs by Jai Josefs
  • Jazz Improvisation 1 – Tonal and Rhythmic Principles by John Mehegan
  • Melody in Song writing by Jack Perricone (Berkelee Press)
  • Harmony by Mark Sarnecki

Malcolm Boyd. "Arrangement." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 21 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/01332>.
Whittall, Arnold. "arrangement." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. Oxford University Press. Web. 21 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e410>.
Kenneth Kreitner, et al. "Instrumentation and orchestration." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 21 Nov. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/20404>.
Mervyn Cooke. "Film music." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 22 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/09647>.
William Lichtenwanger and Mary Wallace Davidson. "Copyright." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 22 Sep. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2258807>.

 

Student assessment 

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 1
Type: Arranging (Practical and Written)
Word length: 500
Topic: Arranging Rock/Blues
Students are to submit a notated arrangement with 3 - 5 additional instruments, genre – Rock/Blues.
Provide a critical musical analysis on the style chosen, tools used and choice of instruments in your composition.

Term 1 Week 9

15%
5%

1, 2, 3, 4
5

Assessment 2
Type: Arranging (Practical and Written)
Word length: 500
Topic: Arranging Jazz
Students are to submit a notated arrangement with 5 - 7 additional instruments, genre – Jazz.
Provide a critical musical analysis on the style chosen, tools used and choice of instruments in your composition.

Term 2
Week 9

15%
5%

1, 2, 3, 4
5

Assessment 3
Type: Arranging (Practical and Written)
Word length: 500
Topic: Arranging Folk
Students are to submit a notated arrangement with 7 - 9 additional instruments, genre – Folk.
Provide a critical musical analysis on the style chosen, tools used and choice of instruments in your composition.

Term 3
Week 9

15%
5%

1, 2, 3, 4
5

Assessment 4
Type: Arranging (Practical and Written)
Word length: 500
Topic: Arranging Classical
Students are to submit a notated arrangement with 9 - 12 additional instruments, genre – Classical.
Provide a critical musical analysis on the style chosen, tools used and choice of instruments in your composition.

Term 4 Week 9

35%
5%

1, 2, 3, 4
5

 

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

1, 2, 3

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

 1, 2, 3, 5

B. Knowledge and Skills

 

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

4

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

1, 2, 3

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

5

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

1, 2, 3, 5

E. Creative and Professional Understanding

 

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

1, 2, 3

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

3, 5