THE UNIVERSITY OF MELBOURNE

FACULTY OF MUSIC HANDBOOK, 1989

PUBLISHED BY THE UNIVERSITY STUDENT DIARY Students are reminded that information on matters of general concern, e.g., Amenities and Services Fee, Enrolment, Assessment, Special Consideration, Stu­ dent Membership Cards, Colleges and Halls of Residence, Careers and Appoint­ ments Service, University Facilities, Financial Assistance, etc., is to be found in the Student Diary.

ENROLMENT Information on enrolment procedures will be supplied by Student Administration Office at the place of enrolment.

BOOKS Lists of essential preliminary reading, prescribed texts and scores, and important reference works for the various subjects are located in a separate BOOKLISTS section near the end of this Handbook.

UNIVERSITY REGULATIONS University Statutes and Regulations referred to or quoted in these handbooks/ publications are as in operation at the time of going to press in late 1988. From January ig89 it is expected that the current Statutes and Regulations will be replaced by a completely revised set of statutes which will encompass the provisions in the current Statutes and Regulations except for Chapter 6 and 7 of the Regulations (prizes, exhibitions, scholarships bursaries and other endow­ ments). These latter Regulations will become Resolutions of Council, without substantial change, and will be identified by the Regulation numbers used in 1988. The revised Statutes will be published early in 1989 and will be available in the 1989 University Calendar.

SUSPENSION OF SUBJECTS In exceptional circumstances the Council is empowered to suspend subjects and vary the syllabus of a subject. For example, insufficient enrolments may be a ground for suspending an optional subject. Details of any such alteration will be available from the appropriate Faculty Office and will be announced on depart­ ment notice-boards.

Published November 1988

ISBN 0 86839 805 5 TABLE OF CONTENTS Faculty of Music 5 Important Dates 5 Faculty of Music Membership List 5 Academic Staff 7 I nstrumental Teachers 10 Singing Teachers 11

Section 1: Information for Prospective Students 12 General Information 12 Undergraduate Courses . 14 Postgraduate Courses 15 Single Subjects 15 Orchestral Bursaries 15 Quotas and Applications 15 Principles of Selection 15 Summer School in Basic Music Theory 16

Section 2: Course Information for Enrolled Students 17 Course Planning and Approval 17 Enrolment 17 Matriculation Roll 17 Deferment of Place 17 Activities 18 Facilities 18 Music Students' Society 19 Attendance and Participation in Courses 19 Directions, Resolutions and Rules relating to Assessment 20

Section 3: Regulations for Music Degrees 22 Regulation 3.56 — Degree of Bachelor of Music 22 Regulation 3.56A — Degree of Bachelor of Music Education 23 Regulation 3.63 — Degree of Master of Music 23 Regulation 3.60 — Degree of Doctor of Philosophy 25 Regulation 3.57 — Degree of Doctor of Music 25

Section 4: Details of Subjects — Undergraduate degrees 26 Summary List of Subjects 26 Degree of Bachelor of Music (from 1989) 26 Degree of Bachelor of Music (pre-1989) 32 Degree of Bachelor of Music (Honours degree) (pre-1989) 34 Degree of Bachelor of Music Education (pre-1989) 35 Details of Subjects 36

Section 5: Postgraduate Studies 63 Degree of Master of Music 63 Degree of Doctor of Philosophy 63 Master of Music 63 Section 6: Exhibitions, Scholarships, Prizes & Financial Assistance 65

Section 7: Booklists 68

Section 8: Appendices 83

Appendix 1:

University General Principles of Selection for Entry to Postgraduate Courses 83

Appendix 2: Music Courses at the Victorian College of the Arts 86 THE FACULTY OF MUSIC — ADMINISTRATION Dean — RONALD FARREN-PRICE, DipMus. Deputy Dean — GRAHAM ALFRED REGINALD BARTLE, BA MMus DipEd FTCL MIMT. Associate Dean (Research) — PROFESSOR PETER JOHN DENNISON, BMus Syd., MA Oxf. & Camb. DPhill Oxf. PhD Camb., FRCO. Assistant Registrar (Music) — DAVID MARSH BURD Administrative Officer— DANIELLE CHIPIER, BA.

THE CHAIRS OF MUSIC The Ormond Chair of Music was founded in the University of Melbourne by the generous endowment (£20,000) of Francis Ormond in 1888. In 1894, a Con- servatorium of Music was established. A second Chair of Music was founded in 1973, and first filled in August 1975.

THE BUILDING The Faculty building consists of 27 teaching rooms, a seminar room, a concert hall, The Melba Hall, a small lecture hall, The Heinze Room, an electronic music studio, administrative offices, staff and students' rooms. The music branch library is located on the 3rd floor of the Baillieu Library. A practice block is located in the basement of the Zoology building. The Grainger Museum is adjacent to the Faculty. Some of the large lectures are held in Theatre A, Old Arts Building.

IMPORTANT DATES Jan. 15 — Last day of enrolment for students previously enrolled. Jan. 31 — Closing date for M.Mus and M.Mus (prelim.) applications. Feb. 20 — Orientation Week begins. February 27 — First semester begins March 24 — April 2: Non-instruction period June 4 — First Semester ends June 5 — July 16: Winter recess July 17 — Second semester begins September 25 — October 1: Non-instruction period October 22 — Second semester ends October 23 — December 10: Assessment period December 11 — February 25,1990: Admissions period For other details see the Student Diary

THE FACULTY OF MUSIC MEMBERSHIP (Information as at 22.9.1988)

The Dean. MR R. FARREN-PRICE The Deputy Dean, MR G.A.R. BARTLE The Associate Dean (Research), PROFESSOR P.J. DENNISON The Vice-Chancellor The Deputy Vice-Chancellors

5 Professors, Readers, Senior Lecturers and Lecturers of the full-time academic start: PROFESSOR M. BRIMER DR B. E. CONYNGHAM MR M. J. L. COOKE DR J. A. GRIFFITHS MR C. J. MARTIN MR C. PINI MR P. R. TAHOURDIN MRD. .W. THORNTON MR C. L. AYREY DR M. G. W. GILLIES MS A. SEMETSKY

Members of the part-time staff elected annually: MISS M. CLIFFORD

Members of the full-time tutorial staff elected annually: MS S. McCOLL vacancy

Nominated annually by the Faculty of Education: MR w. G. S. SMITH

Four Student members appointed annually: MSA. DE SIMONE MS L. HUTCHINGS MS D. SEGAL vacancy

Nominated annually by the Committee of Convocation: MISS G. NORTHEY

Member appointed by the Academic Board: PROFESSOR L. K. STEVENS

Members appointed by Council: MR N. BOURKE DR E. L. BURGE DR K. DREYFUS MR E. JENSEN DR E.G. MUIRHEAD DR J. PRESSING MR W. D. RICHARDSON PROFESSOR R. SUSSEX MR G. TIBBITS MR M. S. WILLIAMS PROFESSOR I. P. WILLIAMSON MR B. WORLAND 6 ACADEMIC STAFF (Information as at 22.9.1988)

Chairman of Department and Reader: RONALD FARREN-PRICE, DipMus.

Ormond Professor: MICHAEL BRIMER, BA Cape T. BMus Lond. MA Camo., FRCO ARCM ADCM

Professor: PETER JOHN DENNISON, BMus Syd. MA Oxf. & Camb. DPhil Oxf. PhD Camb., FRCO

Readers: BARRY ERNEST CONYNGHAM, MA Syd. DMus MAXWELL J. L. COOKE, MMus DipMus Perfectionnement 6eme degre Ecole Normale de Musique, FACE MIMT

Senior Lecturers: GRAHAM ALFRED REGINALD BARTLE, BA MMus DipEd FTCL MIMT JOHN ANTHONY GRIFFITHS, BA PhD Monash CHRISTOPHER JOHN MARTIN CARL PINI PETER RICHARD TAHOURDIN, MMus Tor., LTCL DONALD WILLIAM THORNTON, BMus Lond. BSc W.Aust. MMus

Lecturers: CRAIG LESLIE AYREY, BMus Cant. MMus Auck. & Lond., LTCL DENISE ELIZABETH ERDONMEZ, BMus Melb. & Mich., MMus LMusA RMT CMT MALCOLM GEORGE WILLIAM GILLIES, BA A.N.U. MA Camb. MMus PhD Lond. DipEd, LMusA LTCL FLCM MACE ALEXANDER SEMETSKY, Diplome Moscow Con.

Librarian: Vacant

Research Fellow: KAY DREYFUS, MMus PhD

Associate: THERESE RADIC, MMus PhD

Senior Tutor: BRENTON BROADSTOCK, BA Monash MMus Memphis

Tutors: SANDRA McCOLL, MLitt Oxf. BMus MA AMusA CHRISTOPHER MICHAEL MARK, BA S'fon.

Part-Time Staff: ELIZABETH ANDERSON (Harpsichord), FREDA ASH (Music Education) ROBERT BILSBOROUGH, BMus BEd Monash, Dalcrozer Licentiale (Music Education) 7 -time Staff — continued

DAVID BLOOM (Flute) PAMELA BLOOM (Clarinet) RHONDA BRUCE (Singing) CHRISTOPHER BURGESS, BMusEd (Music Education and Recorder) KEVIN CASEY, DipMus (Singing) ROBERT CHAMBERLAIN, BMus (Piano) MAY CLIFFORD, OAM BMus DipEd LRSM (Piano) PETER CLINCH, PhD Monash MMus LMusA (Saxophone and Clarinet) DARRYL COOTE, BMus AMusA MPMT (Piano) WENDY COUCH (Percussion) MARGARET CRAWFORD (Flute) JEFFREY CRELLIN (Oboe) ROGER DAVIES (Trombone) PRUDENCE DAVIS (Flute) GREG DIKMANS, BMus Syd DipBaroque Flute Brussels (Recorder) JENNIFER DRUERY, BMus Syd. (Double Bass) PETER EDGE (Flute) GRAEME EVANS (French Horn) HAROLD EVANS (Bassoon) DAVID FARRANDS (Trumpet) MANUEL GELMAN, MA BEd (Music Education) EILEEN GILLIGAN (Flute) ELIZABETH GLAB (Piano) B Mus DipEd MMus Warsaw PHILLIP GREEN, BMus (Violoncello) ALEX GRIEVE (French Horn) JUDITH GRIEVE (Oboe) NATHAN GUTMAN, DipMus MusBac MLaw Warsaw (Violin) ANDRE HADGES (Violin) IAN HARRISON, DipMus ARCM Lond. AdvDipMEd Kodaly Inst. (Music Education) ROGER HEAGNEY, MMus (Harpsichord) ANTHONY HICKS, BEd (Saxophone) DAVIN HOLT (Double Bass) MARIANNE HUNT, BMus (Violoncello) HUW JONES (Harp) MACK JOST, AM BMus DipMMus LRAM (Piano) IAN KING (Tuba) DOUGLAS LAWRENCE, MMus (Organ) PETER LYNCH, DCSM LTCM LMusA (Guitar) BETTINE McCAUGHAN (Singing) KENNETH McCLIMONT (Trombone) JOHN MALLINSON, BMus ARCM LRAM ARCO (Organ) JEANNIE MARSH Dip Op & Mus BMusEd Theatre (Singing) CHRISTOFF MAUBACH, BMus Dance Ed (Music Education) HANS-DIETER MICHATZ (Baroque Flute) PHILLIP MIECHEL, MMus (Clarinet) IAN MORGAN, MusBac MMus (Clarinet) WENDY MORRISON, BMus MMus R.C.M. LMusA ARCM (Piano) BRENTON MOUY, BEd (Percussion) THOMAS NICOLL (French Horn) JUNE NIXON, BMus DipMus FRCO (CHM) ARCM (Organ) LINDSAY O'NEILL, BMus Adel. FRCO (CHM) ARCM (Organ) MICHELLE PICKER. ARCM (Double Bass) CAVELL POLI (Singing) SPIROS RANTOS (Violin) MERYL ROSS, BMus (Piano)

8 Part-time Staff— continued

PAUL SARCICH (Percussion) ROBERT SEDERGREEN (Jazz) FREDERICK SHADE, BA AMusA (Flute) ROBERT SIMS, BMusEd BMus (Trumpet) ROBERT SMITHIES (Trumpet) LORIS SYNAN, DipMus (Singing) HENRI TOUZEAU (Violoncello) REG WALSH (Trumpet) GORDON WEBB (Trumpet) NORMAN WEINER (Oboe) HENRY WENIG (Violoncello) RUTH WILKINSON, BMus Old. (Recorder) PAUL WILLIAMS (Bassoon)

9 INSTRUMENTAL TEACHERS Percussion: WENDY COUCH Piano: BRENTON MOUY PROF. MICHAEL BRIMER PAUL SARCICH ROBERT CHAMBERLAIN MAY CLIFFORD Lute: MAX COOKE JOHN GRIFFITHS DARRYL COOTE RONALD FARREN-PRICE Flute: ELIZABETH GLAB MACK JOST DAVID BLOOM WENDY MORRISON MARGARET CRAWFORD MERYL ROSS PRUDENCE DAVIS ALEXANDER SEMETSKY PETER EDGE DONALD THORNTON EILEEN GILLIGAN FREDERICK SHADE Organ: / DOUGLAS LAWRENCE Recorder/Baroque Flute: JOHN MALLINSON JUNE NIXON CHRISTOPHER BURGESS LINDSAY O'NEILL GREG DIKMANS HANS-DIETER MICHATZ RUTH WILKINSON Harpsichord: ELIZABETH ANDERSON Oboe: MAX COOKE JEFFREY CRELLIN ROGER HEAGNEY JUDITH GRIEVE NORMAN WEINER Violin: NATHAN GUTMAN Clarinet: ANDRE HADGES PAMELA BLOOM CHRISTOPHER MARTIN PETER CLINCH CARL PINI PHILLIP MIECHEL SPIROS RANTOS IAN MORGAN Viola: CHRISTOPHER MARTIN Saxophone: PETER CLINCH Violoncello: ANTHONY HICKS PHILLIP GREEN MARIANNE HUNT Bassoon: HENRI TOUZEAU HAROLD EVANS HENRY WENIG PAUL WILLIAMS

Double Bass: French Horn: JENNIFER DRUERY GRAEME EVANS DAVIN HOLT ALEX GRIEVE MICHELLE PICKER THOMAS NICOLL Harp: Trumpet: HUW JONES DAVID FARRANDS Guitar: ROBERT SIMS ROBERT SMITHIES JOHN GRIFFITHS REG WALSH PETER LYNCH GORDON WEBB Trombone: ROGER DAVIES Tuba: KENNETH McCLIMONT IAN KING

10 SINGING TEACHERS RHONDA BRUCE KEVIN CASEY BETTINE McCAUGHAN JEANNIE MARSH CAVELL POLI LORIS SYNAN SECTION 1: INFORMATION FOR PROSPECTIVE STUDENTS

GENERAL INFORMATION In 1989, the Faculty of Music is introducing a single Bachelor of Music four-year degree, enabling students to specialize in any one of six areas: composition; music education; music therapy; musicology; music performance; instrumental or vocal teaching. The degree will be awarded at either pass or honours level, according to the quality of the results obtained by the students. The existing Bachelor of Music and Bachelor of Music Education will be phased out, and no new students will be admitted to the first year of these degrees. For students specializing in music education and music therapy the course con­ tains all the requirements for registration in their respective fields.

YEAR 1 is planned as a common programme for all students: Aural Training 1 Music History 1 Music Techniques 1 Practical Study 1 Subject in another Faculty (to be Psychology 1 for music therapists) Modern Languages 0 (for singers) Large Ensemble 1

YEAR 2 has a common core of subjects as well as subjects leading toward the specialization of the following years. The common core for all second year students will be: Aural Training 2 Music History 2 (two of four available genre studies) Music Techniques 2 Large Ensemble 2 and Year 2 subjects leading to the various specializations as follows: For composition specialization: Composition 2 — Small Ensembles Any one of: • Subject in another Faculty • Practical Study 2 • Philosophy of Education M and • Techniques in Musicianship For instrumental or vocal teaching specialization: Practical Study 2 Modern Languages (for singers) Any one of : • Subject in another Faculty • Composition 2 — Small Ensembles • Philosophy of Education M and o Techniques in Musicianship

12 For music education specialization: Practical Study 2 Techniques in Musicianship Philosophy of Education M Modern Languages (for singers) For musicology specialization: Practical Study 2 Modern Languages (for singers) Any one of: • Subject in another Faculty • Composition 2 — Small Ensembles • Philosophy of Education M and • Techniques in Musicianship For music performance specialization: Practical Study 2 Modern Languages (for singers) Any one of: • Subject in another Faculty • Composition 2 — Small Ensembles • Philosophy of Education M and • Techniques in Musicianship For music therapy specialization: Practical Study 2 Techniques in Musicianship Psychology 2M

YEARS 3 AND 4 The courses in Years 3 and 4 are to be organized using a system of credit points. Points are allotted to each subject (except for Large Ensemble 3) on the basis of its relative weighting, determined by • the importance of the subject in the overall course, • the number of contact hours, and • the amount of work expected of the student to complete it. The programme for each of the six specialist areas in Years 3 and 4 consists of the required subjects for the specialization, to which are added a number of subjects elected by students according to their interests, provided they have completed any necessary pre-requisites. In each specialization, students are expected to build a course totalling 30 credit points over Years 3 and 4, normally 16 credit points in Year 3 and 14 credit points in Year 4. For some specializations, certain elective subjects are recommended. Elective subjects may be chosen from the following list or may be selected from the required subjects for other specializations. Not all elective subjects will be offered in any one year. All those listed are one-semester courses. Elective Subjects: — All are worth 2 credit points. — Acoustics Church Music in England Introduction to Electronic Music The Italian Baroque Keyboard Skills 1 Keyboard Skills 2 Large Ensemble 4 Music Aesthetics and Criticism The Music Dramas of Wagner

13 Music in Australia Music in the Fourteenth Century Music in the Fifteenth and Sixteenth Centuries The Music of Beethoven The Music of Stravinsky Music Paleography Music since 1960 Orchestration and Arrangement Performance Practice and Organology Pitch-class Set Theory Analysis Renaissance Instrumental Music Schenkerian Analysis The Second Viennese School The Solo Song Style Analysis — Romantic Piano Literature The 1890s Twentieth Century Music Techniques Any two of the Genre Studies listed under Music History 2A, 2B, 2C and 2D, not taken previously. Any five Small Ensembles chosen from: Brass Ensemble Chamber Music Early Music Hand Bell Ringing Jazz Ensemble Keyboard Accompaniment New Music Ensemble String Orchestra Vocal Ensemble Proposed subjects for each specialization are shown in Section 4. Prospec­ tive students should note that all subjects in Years 3 and 4 are still under consideration by the University Administration, and may be revised. Under the proposed course structure, students may be able to complete the specialization requirements in one area and, within the flexibility offered by the elective system, also choose required subjects in Years 3 and 4 to complete a specialization in a second area. The Bachelor of Music degree with Honours will be awarded by the Faculty on the recommendation of the Consultative Board of Examiners and will be based on the results of Years 3 and 4 only. In these two years, an average of the results of all subjects for which marks are awarded will be taken, and the Board of Examiners will further take account of the students' achievements in the core subjects of (heir specialization or specializations to determine the level of honours to be gained. These will be H1 (80+), H2A (75-79), H2B (70-74) and H3 (65-69). The Faculty also provides teaching which leads to the degrees of Master of Music (M.Mus.), Doctor of Philosophy (Ph.D.) and Doctor of Music (D.Mus.).

UNDERGRADUATE COURSES From 1989: Bachelor of Music (Pass or Honours) The regulation covering this course is to be found in Appendix 0. Prior to 1989: Bachelor of Music (Pass or Honours) and Bachelor of Music Education The regulations covering these courses are to be found in Section 3.

14 POSTGRADUATE COURSES Master of Music Doctor of Philosophy Doctor of Music The regulations covering these degrees are to be found in Section 3. See also University General Principles of Selection for Entry to Postgraduate Courses in Section 8, Appendix 1.

SINGLE SUBJECTS Students wishing to undertake single subjects from the Undergraduate Music degree courses not leading to any of the above qualifications should contact the Faculty office in the first instance.

ORCHESTRAL BURSARIES A limited number of Orchestral Bursaries is awarded to players of orchestral instruments who have taken Practical Study 1A to enable them to continue study at higher levels- The award of an orchestral bursary carries with it the obligation to take part in orchestral activities in the Faculty.

QUOTAS AND APPLICATIONS There is a quota of 77 for entry to the first year of the course. Competition for places is intense and a high academic standard is required of successful appli­ cants. Application is made direct to the Victorian Tertiary Admissions Centre, 40 Park Street, South Melbourne 3205. The VTAC publishes its VTAC Guide to Courses in Colleges and Universities which contains application details and is available on request from that office in September of each year.

PRINCIPLES OF SELECTION Applicants are advised to consider the General Principles of Selection and the Special Principles of Selection which are appropriate to the level at which they may be seeking entry to courses. Principles of Selection, which concern students wishing to undertake Music courses, cover the following areas: University General Principles of Selection for Entry to First Year Under­ graduate Courses.* Special Principles of Selection for Entry to First Year Undergraduate Courses . in the Faculty of Music." University General Principles of Selection for Entry to Second and Later Years of Undergraduate Courses.' Special Principles of Selection for Entry to Second and Later Years of Under­ graduate Courses in the Faculty of Music." University General Principles of Selection for Entry to Postgraduate Courses (Section 8, Appendix 1). For the University's Policy regarding Applicants for University Entrance who hold Tertiary Orientation Programme Qualifications, see the University Prospectus. Potential applicants, after reading the relevant sets of principles, should seek further information from the Faculty or the Office for Prospective and New Stu­ dents if they need assistance in interpreting these principles in the light of their own circumstances and background.

• Now published in the University Prospectus, available from the Office for Prospective and New Students.

15 Applicants who have attempted or completed tertiary studies will be considered for entry at the highest level for which they are assessed to be eligible, if they are not assessed as eligible for the level sought. Course application forms make provision for these arrangements and applicants who are unsure of their eligibility for a particular year or level of entry are encouraged to seek advice. The number of places available in each course is limited and there may be quotas in specific years of a course and, in some cases, subjects or units.

SUMMER SCHOOL IN BASIC MUSIC THEORY In January, the Faculty, in conjunction with the Victorian Society of Organists, may conduct a Summer School in Basic Music Theory. The course is designed to be of particular value to students with a limited background in Music theory who intend to undertake tertiary studies in Music. Full details of the course are avail­ able from the Faculty Office.

16 SECTION 2: COURSE INFORMATION FOR ENROLLED STUDENTS

COURSE PLANNING AND APPROVAL After selection, all new students will be interviewed and auditioned. At this time they will be allocated to a practical teacher. Students seeking information on subjects available in other faculties are advised to study the relevant Faculty Handbook. Once a student's course has been authorized, no changes are permittted without approval. Students wishing to change courses must first call at the Faculty office to obtain the necessary approval and amendment of authorization.

ENROLMENT After students have been notified of their selection, they will be required to attend at the Faculty office to accept the offer of a place and to obtain an authority to enrol. Students must then attend at the Student Administration Office to complete enrolment formalities. (Information on enrolment procedures will be supplied by the Student Administration Office at the place of enrolment.) Any student who does not wish to proceed with his or her course must report to the Faculty office and also notify the Student Administration Office in writing immediately. A new enrolment must be lodged at the beginning of each year. Discontinuation Persons wishing to discontinue their courses, should refer to Regulation 2.2, sections 5 and 6, in the University Calendar.

MATRICULATION ROLL When beginning a course for a degree or diploma which requires matriculation, all students must sign the prescribed declaration at the time of enrolment. Unless this is done, no subjects passed can count towards a degree or diploma requiring matriculation. In order to be eligible to sign the matriculation roll, candidates must have: (a) satisfied the general entrance requirements of the University; (b) satisfied the special course requirements, if any, for their particular course; (c) been selected for and enrolled in their course; and (d) attained the age of seventeen years by 31 March of the year concerned.

DEFERMENT OF PLACE All courses in the University of Melbourne may permit students to defer the commencement of their studies. Applications for deferment should be made after receipt of an offer, during the period allowed for signifying acceptance of the offer. Students whose applications are approved are not required to enrol. Towards the end of the year for which deferment was granted, students will be asked to confirm that they intend to accept a place in the following year. Students who are granted deferment do not have to re-apply for admission to the course for which deferment was approved. If, however, they wish to seek admis­ sion to another course, they must re-apply for admission through VTAC.

17 ACTIVITIES Concerts The Faculty organizes a series of free lunch-hour concerts twice a week — Mon­ days and Thursdays — during the teaching periods of each semester. Students are expected to participate in the Monday concerts. Choral, orchestral and chamber concerts are held in the evenings as well. Details of all concerts are available from the Concert Office. Student Music Week Introduced in 1974, the Students' Music Week is a regular feature of the Faculty's activities in July each year. It is organized by the Music Students' Society with the assistance of the Faculty Concert Office. It offers students of the Faculty an opportunity for intensive music-making and promotion, and gives people outside the chance to hear something of the range of student activities.

FACILITIES Library The University Library comprises the Baillieu Library and fourteen branch libraries in various faculties and departments. The Music library (on the 3rd floor of the Baillieu Library) houses the main holdings in Music and is open to students of all faculties. In addition to the usual reference and undergraduate material, the library houses a large Faculty collection of scores and sheet music as well as an exten­ sive orchestral and choral library. A comprehensive record collection and listening carrels are available within the library area for the use of music students. Instruments A number of instruments are available for hire by music stuaents. Enquiries should be made to the Music librarian. In addition, the Faculty has a collection of early musical instruments which are available for use by students. Grainger Museum The Grainger Museum, established and financed by Percy Grainger, was com­ pleted in 1938. The building houses a unique collection, the work of a strongly individual and independent artist. Aspects of Grainger's life, his personality and viewpoints are conveyed by many of the exhibits. Items on display include musical instruments, furniture, clothing, paintings and many other objects and items concerning Grainger, his interests and associates. The museum's archives include music (manuscript and published), recordings of all types, correspondence, documents, photographs, books, journals and per­ sonal items, as well as the archival records of the Royal Victorian Liedertafel and music manuscripts of Professor G. W. L. Marshall-Hall. A booklet, A Guide to the Grainger Museum is available, and the building is open Monday to Friday 10 am to 4 pm (public holidays excepted). The Electronic Music Studio The Electronic Music Studio was established in 1973 with the aid of a grant from the Gulbenkian Foundation. The original studio has grown to three, a general teaching and composition stu­ dio, a synthesizer (digital and analog) laboratory, and the central Control Room linked to Melba Hall for recording of live performances and reproduction of tape compositions in concert. The Studio's equipment includes state-of-the-art mixing and 8-track recording facilities, several composition and performance synthesizers, as well as signal processing equipment, various tape recorders and a Digital Audio Processor.

18 MUSIC STUDENTS' SOCIETY The Music Students' Society is a student organization which plays a vital part in the life of the Faculty. The Society annually elects a committee which includes yearly representatives on Faculty and the Departmental Committee. The Society has three broad objectives: (a) to liaise between staff and students, (b) to concern itself with any matter which is of interest to members in their study of music, (c) to organize activities (social, musical, etc.) to help provide a broader outlook on music and education. The Society plays an especially active and important part during 'Orientation Week' in advising new students and introducing them to their new environment, and organizes the annual Student Music Week. Students wishing to play a part in the running of the Society or needing further information, should contact the Music Students' Society, Faculty of Music.

ATTENDANCE AND PARTICIPATION IN COURSES Course Changes Students who wish to change their course, or subjects within a course, or who wish to change their practical study teacher, or change from one class to another, should consult the Deputy Dean or the Administrative Officer. Part-Time Study No facilities for part-time study are available in the first year of the course. Stu­ dents wishing to enrol on a part-time basis in later years of their course should apply to do so during the normal re-enrolment period. No evening lectures are conducted. External Studies It is not possible to undertake external studies in subjects offered by the Faculty of Music. Re-enrolment Students intending to continue their studies in a degree course will be required to attend at the Faculty during December or January in order to have their course for the following year approved and to obtain an authority to re-enrol. Students must then complete enrolment formalities at the Student Administration Office. Leave of Absence Students who wish to interrupt their courses should apply to the Faculty for leave of absence, stating reasons for the request. Leave of absence will normally be given for one year only. Applications should be addressed to the Assistant Regis­ trar (Music). A student interrupting a course without having sought leave of absence, may be suspended from the course by the Academic Board on the recommendation of the Faculty. All students who have received official leave of absence will be requested to inform the Assistant Registrar (Music) of their intentions with regard to their course by writing to the office before 30 November of the year prior to the expiration of their leave. Students must also apply for permission to be absent for shorter periods during the academic year, should such absence be desired. External Musical Activities Students may participate in any musical activity outside the Faculty of Music only with the written permission of the Dean. Such permission must be gained prior to beginning that outside musical activity.

19 DIRECTIONS, RESOLUTIONS AND RULES RELATING TO ASSESSMENT Details of the method of assessment appear under individual subject headings. Where different forms of assessment are used within a subject, the relative weighting of essays, assignments, practical work, written or oral examinations or any other form of examination will be posted on Faculty notice-boards at the beginning of the academic year. For the pre-1989 Bachelor of Music and Bach­ elor of Music Education degrees. Grade structure A-F is used for pass subjects and H1-N for Honours subjects and for subjects which are both'pass and Honours. In the new Bachelor of Music to be offered from 1989, Grade Structure A-F will be used for all subjects except Large Ensemble 1, 2 and 3 which will be assessed as pass or fail only. Special Consideration See entry under this heading in the Student Diary. Special Examinations Special Examinations may be granted under the following circumstances: 1. Where students are physically unable to sit for an examination or a substantial part of that examination, satisfactory medical or other evidence is required. Appli­ cations must be made before or as soon as practicable after the date of the examination. 2. If a candidate is ill during the examination the candidate should report to the supervisor at the examination centre and make an application supported by medi­ cal or other evidence within three (3) days of the examination. 3. In cases where students' studies have been so gravely impaired by illness or other serious cause that they are precluded from doing themselves justice at the normal examination time, the Faculty may grant them special examinations in February. Such students should make it clear in their application for special consideration that they are applying for special examinations. Strong supporting evidence is necessary. In such cases the application must be made before the commencing date of the annual examination.

Supplementary Examinations Supplementary Examinations may be awarded by the Study Progress Committee in accordance with the Faculty of Music Progress Rules.

Faculty Progress Rules Progress Rules for students enrolled in the undergraduate courses are set out below: 1. Study Progress The Study Progress Committee acts on behalf of the Faculty of Music in imple­ menting Regulation 2.5 — Unsatisfactory Progress. Where a student fails or is absent from an examination, the Study Progress Committee may, after investigating the circumstances and giving the student concerned an opportunity to be heard, (a) award supplementary examinations; (b) specify the subjects for which the student may enrol in any subsequent year; or (c) report its opinion to the Academic Board that the student be suspended from the course. 2. Supplementary Examinations The Faculty of Music directs that supplementary examinations may be awarded for each subject in each year of the undergraduate courses.

20 Such examinations will be awarded by the Study Progress Committee if, after reviewing the student's progress in the year as a whole, the Committee is satisfied that; (a) the examination performance is not too far below the pass mark and (b) the student has made a serious attempt throughout the year. Supplementary examinations will be awarded in accordance with the above guidelines where: (a) A failure in one subject will prevent a student from completing the course in minimum time; or (b) A failure in any one of Practical Study, Music Performance, Composition, Music History, Music Techniques or Music Language Studies; or (c) A failure in one of Practical Study, Music Performance, Composition, Music History, Music Techniques or Music Language Studies and one other subject of the course; or (d) failure in any other two subjects of the course. 3. Leave of Absence The final date for the submission of applications for leave of absence is 31 August in each academic year. Thereafter the result grade 'F' (fail) will be recorded against the appropriate subjects in official records except where, with special approval of the Faculty of Music, individual applicants are exempted from the foregoing prescription. 4. Unsatisfactory Progress The progress of a student will be deemed to be unsatisfactory if the student: (a) fails three or more subjects in the one year; (b) fails any two of Practical Study, Music Performance, Composition, Music History, Music Techniques or Music Language Studies in the one year; (c) fails any subject twice; (d) fails two subjects in each of successive years; (e) as a part-time student fails more than 50% of the subjects entered for in any one year; or (f) having failed to achieve a satisfactory result in any Practical Study or Music Performance subject, is unlikely, in the opinion of the examiners, to reach the level of proficiency required for that subject. Such a student will be given an opportunity to be heard by the Study Progress Committee. If the student does not satisfy that Committee of his/her capacity to pass if permitted to continue the course, that student shall be recommended to the Academic Board for suspension from the course. 5. Course Progress No student shall proceed to the third year of the course before passing all sub­ jects of the first year nor to the fourth year before passing all subjects of the second year. Rules for Unsatisfactory Progress Rules for unsatisfactory progress, as revised or reaffirmed as the result of a review, will be placed on Faculty notice-boards prior to the commencement of the first semester in 1989.

DIRECTIONS TO EXAMINERS RELATING TO ASSESSMENT Directions of the Academic Board Pursuant to Regulation 4.2.1 Directions of the Academic Board Pursuant to Regulation 4.2.7(3) For directions to both, see the Appendix in the Student Diary.

21 SECTION 3: REGULATIONS FOR MUSIC DEGREES Regulations pertaining to the new Bachelor of Music course introduced in 198£ are not available at the time of printing.

REGULATION 3.56 — DEGREE OF BACHELOR OF MUSIC Pre-1989 Degree Course 1. The degree of bachelor of Music may be conferred either as an ordinary degree or as a degree with honours. 2. Candidates for the degree shall, subsequently to their matriculation, pursue their studies for four years, attend such lectures and classes, perform such practi­ cal work and pass such examinations as may be prescribed. 3. (1) A candidate shall, at the beginning of the First Year, secure the approval ol the faculty of Music for the proposed choice of subjects and parts ol subjects and the order of the candidate's course. Any subsequent altera­ tion in the course of study must be approved by the faculty. (2) A candidate shall, at the beginning of each year of study thereafter, secure approval from the faculty for the subjects and parts of subjects selected foi study by the candidate in that year. 4. The subjects and parts of subjects of the course for the ordinary degree and for the course for the degree with honours and the conditions on which such subjects or parts of subjects may be taken shall be as prescribed from time to time by the Academic Board on the recommendation of the faculty and published with the details of subjects. 5. When in any year a candidate passes in some only of the subjects of the year, he or she shall be entitled to credit for such subjects. A candidate may, in any subsequent year, present for the subjects not passed either by themselves or together with such subjects of the next year of the course as the faculty may approve. 6. In lieu of passing in a subject as prescribed for the ordinary degree, the candidate may enrol and enter for and be classed at the examination in that subject in the course for the degree with honours but shall not be included in the final honours class list. A candidate who has so enrolled and entered for examina­ tion may compete for the exhibition in a subject in accordance with the conditions prescribed. 7. A candidate may be admitted to the ordinary degree who has — (a) passed at the examinations in the subjects of each year of the course in the manner prescribed; and (b) complied in all other respects with this regulation. 8. (1) A candidate for the degree of bachelor of Music with Honours shall — (a) complete the work and pass the examinations of the four Years of the course at a standard and in the manner prescribed by the faculty; and (b) complete to the satisfaction of the faculty such additional studies as the Academic Board, on the recommendation of the faculty, shall prescribe and publish with the details of subjects. (2) A candidate who has fulfilled the requirements of subsection (") hereof may be admitted to the degree of bachelor of Music with Honours. 9. When a candidate has completed any portion of either a course for the ordi­ nary degree or a course for the degree with honours and wishes to transfer to either course or to the course for the degree of bachelor of Music Education, the faculty may determine to what status the candidate will be admitted in the course to which he or she wishes to transfer.

22 10. For physical incapacity or disability or for other good cause shown the faculty may allow a candidate to omit any subject from either of the courses herein prescribed and may prescribe, in substitution for the subject so omitted, such subject or subjects as the faculty may consider appropriate.

REGULATION 3.56A — DEGREE OF BACHELOR OF MUSIC EDUCATION Pre-1989 Degree Course 1. Candidates for the degree of bachelor of Music Education shall subsequently to their matriculation pursue their studies for four years, attend such lectures and classes and perform such practical work as may be prescribed by the Faculty of Music after consultation where relevant with the faculty of Education, pass the prescribed examinations and otherwise comply with the conditions of this regulation. 2. When in any Year a candidate passes in some only of the subjects of the Year he or she shall be entitled to credit for such subjects. The subjects not passed may be presented in any subsequent year either by themselves or along with such subjects of the next year of the course as the faculty may permit. 3. The subjects of the pass and honour examinations of the various years of the course shall be as prescribed from time to time by the Academic Board on the recommendation of the faculty and published with the details of subjects. 4. (1) The provisions of sections 9 and 10 of Regulation 3.56 shall apply, the necessary changes being made to candidates for the degree of bachelor of Music Education. (2) A candidate who has completed any portion of the course for the degree of bachelor of Music or the degree of bachelor of Music with honours may be admitted to the course for the degree of bachelor of Music Education with such status as the faculty may determine.

REGULATION 3.63 — DEGREE OF MASTER OF MUSIC 1. (1) There shall be a degree of master of Music. (2) An applicant for admission to candidature for the degree shall — (a) have graduated or qualified to graduate as a bachelor of Music with Honours; or (b) (i) (x) have graduated or qualified to graduate as a bachelor of Music or a bachelor of Music Education; or (y) be a graduate in Music of another university or tertiary educa­ tional institution whose degree is recognized by the faculty of Music ('the faculty') pursuant to regulation 3.3.1 as appropriate for the purposes of this regulation; or (z) hold a qualification in Music deemed by the faculty to be the equivalent of the degree referred to in (a) and thereby satisfy the faculty pursuant to Regulation 3.3.1 that the applicant has had adequate training and has the ability to pursue the course; and (ii) where required by the faculty, undertake to the satisfaction of the faculty, such preliminary courses of study and assessment as may be prescribed by the faculty in the case of that applicant. (3) An applicant who is eligible for admission to candidature pursuant to sub­ section (2)(a) or (2)(b)(i) and has where required complied with (2)(b)(ii) may with the consent of the faculty be admitted to candidature for the degree of master of Music. 2. A person undertaking a course of preliminary study or research as required by the faculty pursuant to paragraph (b) sub-paragraph (ii) of section 1 shall unless excused by the faculty — (a) if studying full-time, complete that course within one year of its commencement; or

23 (b) if studying part-time complete that course within two years of its commencement. 3. Before commencing the course for the degree a candidate shall obtain the approval of the faculty for the course of study or research proposed by the candidate and shall obtain the approval of the faculty for any subsequent change in such course. 4. A person engaged in another regular occupation which, in the opinion of the faculty, allows the person sufficient time to pursue the studies required, or who is a member of the University staff, may be accepted as a part-time candidate for the degree. 4A. Except where the faculty otherwise determines — (1) A candidate shall engage in a course of study and research and shall — (a) if studying full-time complete that course within a minimum of one and a maximum of two academic years; (b) if studying part-time complete that course within a minimum of two and a maximum of four academic years. (2) Any period spent in undertaking a preliminary course of study and assessment pursuant to section 1(2)(b)(ii) before admission to candida­ ture shall not be counted for the purpose of subsection (1) hereof. 5. (1) Each candidate shall present to the satisfaction of the dean or a person nominated by the dean at least one lecture or lecture recital during candidature. (2) A candidate who has — (a) (i) engaged in research and submitted within the time prescribed a thesis satisfactory to the examiners embodying the result of such research or an edition of a significant music work together with a dissertation thereon which is satisfactory to the examiners, or (ii) given, to the satisfaction of the examiners, the number prescribed by the faculty of public performances of programmes of substan­ tial music works approved by the faculty and has passed such examination as the faculty may prescribe, or (iii) prepared to the satisfaction of the examiners a folio of composi­ tions approved by the faculty and a folio of analysis of a number of major works approved by the faculty together with commentaries thereon; (b) completed to the satisfaction of the examiners a postgraduate course of advanced studies in a field prescribed by the faculty; (c) where required, satisfied the examiners at an oral examination related to the course undertaken by the candidate; and (d) complied in all other respects with this regulation; may be admitted to the degree of master of Music. (3) A candidate who is eligible for admission to the degree pursuant to this section may, where the examiners so certify, be awarded the degree with honours. 6. (1) A candidate may not submit for examination work in respect of which the candidate has already qualified for a degree in a university or for a qualifi­ cation equivalent to such degree or without the permission of the faculty work which the candidate has previously submitted for any such degree or equivalent qualification. (2) Subject to this section the provisions of Regulation 4.6.2' shall apply to the submission of work by candidates for examination.

24 DOCTOR OF PHILOSOPHY [This degree is awarded by the University. For details see the Calendar, Regulation 3.60.]

REGULATION 3.57 — DEGREE OF DOCTOR OF MUSIC 1. (1) A person may be admitted to candidature for the degree of doctor of Music who — (a) is a graduate in the faculty of Music; or (b) holds a degree, whether in this University or in any other university or institution, which degree is recognized by the faculty pursuant to Regulation 3.3.1 as appropriate for the purposes of this regulation; in every case of not less than five years' standing from first qualifying to graduate. (2) A person shall not be admitted to candidature pursuant to paragraph (b) of sub-section (1) unless the person satisfies the faculty of Music that he or she has attained an appropriate academic standing as a composer of music or as a scholar of music. 2. Candidates may present themselves for examination in either or both of two schools, namely — (A) Composition: an original work for orchestra with or without soloists, or for orchestra and chorus with or without soloists, or a series of works which together would constitute a major contribution to music; (B) Theory History and Aesthetics of Music: original essays or other evidence of original research. 3. Candidates must satisfy the faculty as to their ability as composers in school (A) and so to their musical scholarship in school (B) before being admitted to the examination. 4. For the purpose of the examination of candidates under section 2, examiners shall be nominated by the faculty, and candidates who have satisfied the examin­ ers in either or both of the abovementioned schools and who have fulfilled the other conditions hereinbefore prescribed may be admitted to the degree of doctor of Music.

• See the provisions of Regulation 4.4.2. Regulation 4.6 was replaced by new Regulation 4.4. enacted 1/1/83.

25 SECTION 4: DETAILS OF SUBJECTS — UNDERGRADUATE DEGREES DEGREE OF BACHELOR OF MUSIC [NEW DEGREE TO BE INTRODUCED IN 1989]

The programmes for the six possible areas of specialization within the Bachelor of Music are set out below. Subjects in Years 3 and 4 of each specialization are still under consideration by the University Administration, and may therefore be revised. Handbook entries are not available at this stage.

PROGRAMME FOR SPECIALIZATION IN COMPOSITION YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1,1-2 740-128/129 Music Techniques 1-1,1-2 740-136 Practical Study 1 740-109 Large Ensemble 1 Subject in another Faculty Modern Languages (vocal students only) YEAR 2: (available in 1990) Aural Training 2 Music History 2 Music Techniques 2-1, 2-2 Composition 2 — Small Ensembles" Large Ensemble 2 Any one of: • Subject in another Faculty • Practical Study 2 • Philosophy of Education M and Techniques in Musicianship YEARS 3 & 4: (available in 1991 & 1992 respectively) . Subjects to be completed for composition specialization: Points Compositions — Electronic Music 6 Composition 4 — Large Ensembles Large Ensemble 3 12 and Any other subjects totalling 18 points. Recommended elective subjects: Acoustics 2 Introduction to Music Analysis 2 Music in Australia 2 Small Ensemble: New Music 2 Twentieth Century Music Techniques 2

' Students wishing to enrol in Composition in Second Year should attend the Creative Studies course in First Year during second semester. Admission to Composition 2 — Small Ensembles will normally be based on participation in this course.

26 PROGRAMME FOR SPECIALIZATION IN INSTRUMENTAL OR VOCAL TEACHING YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1,1-2 740-128/129 Music Techniques 1-1, 1-2 740-136 Practical Study 1 740-109 Large Ensemble 1 Subject in another Faculty Modern Languages (vocal students only) YEAR 2: (available in ig90) Aural Training 2 Music History 2 Music Techniques 2-1, 2-2 Practical Study 2 Modern Languages (vocal students only) Large Ensemble 2 Any one of: • Subject in another Faculty • Composition 2 — Small Ensembles' • Philosophy of Education M and Techniques in Musicianship YEARS 3 & 4: (available in 1991 & 1992 respectively) Subjects to be completed for instrumental or vocal teaching specialization: Points Practical Study 3 6 Practical Study 4 6 Modern Languages (vocal students only) (1) Large Ensemble 3 12 (or 13 for singers) and Any other subjects totalling 18 points (17 points for singers). Recommended elective subjects: Keyboard Skills 1 2 Keyboard Skills 2 2 Physiology for Musicians 2 Systems of Music Education 4

* Students wishing to enrol in Composition in Second Year should attend the Creative Studies course in First Year during second semester. Admission to Composition 2 — Small Ensembles will normally be based on participation in this course.

27 PROGRAMME FOR SPECIALIZATION IN MUSIC EDUCATION YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1,1-2 740-128/129 Music Techniques 1-1,1-2 740-136 Practical Study 1 740-109 Large Ensemble 1 Subject in another Faculty Modern Languages (vocal students only) YEAR 2: (available in 1990) Aurai Training 2 Music History 2 Music Techniques 2-1, 2-2 Practical Study 2 Philosophy of Education M Techniques in Musicianship Modern Languages (vocal students only) Large Ensemble 2 YEARS 3 & 4: (available in 1991 & 1992 respectively) Subjects to be completed for music education specialization: Points +Curriculum Studies 5 Education Psychology M 4 +School Practice 5 Sociology of Education 2 Systems of Music Education 4 Large Ensemble 3 20 and Any other subjects totalling 10 points. Recommended elective subjects: Acoustics 2 Introduction to Electronic Music 2 Keyboard Skills 1 2 Keyboard Skills 2 2 Orchestration and Arrangement 2

•t- Curriculum Studies and School Practice must be taken in the final year of the course.

28 PROGRAMME FOR SPECIALIZATION IN MUSICOLOGY YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1, 1-2 740-128/129 Music Techniques 1-1,1-2 740-136 Practical Study 1 740-109 Large Ensemble 1 Subject in another Faculty Modern Languages (vocal students only) YEAR 2: (available in 1990) Aural Training 2 Music History 2 Music Techniques 2-1, 2-2 Practical Study 2 Modern Languages (vocal students only) Large Ensemble 2 Any one of: • Subject in another Faculty • Composition 2 — Small Ensembles" • Philosophy of Education M and Techniques in Musicianship YEARS 3 & 4: (available in 1991 & 1992 respectively) Subjects to be completed for musicology specialization: Points + Dissertation 4 Introduction to Music Analysis 2 Music Historiography 2 + Musicological History & Theory 2 Musicological Research Method 2 Large Ensemble 3 12 and Any other subjects totalling 18 points. Recommended elective subjects: Music Aesthetics and Criticism 2 Music Paleography 2 Pitch-class Set Theory Analysis 2 Schenkerian Analysis 2

+ These subjects have specific pre-requisites. viz: For Dissertation the pre-requisite is Musicological Research Method For Musicological History and Theory Ihe pre-requisite is Music Historiography. • Students wishing to enrol in Composition in Second Year should attend the Creative Studies course in First Year during second semester. Admission to Composition 2 — Small Ensembles will normally be based on participation in this course.

29 PROGRAMME FOR SPECIALIZATION IN MUSIC PERFORMANCE YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1, 1-2 740-128/129 Music Techniques 1-1,1-2 740-136 Practical Study 1 740-109 Large Ensemble 1 Subject in another Faculty Modern Languages (vocal students only) YEAR 2: (available in 1990) Aural Training 2 Music History 2 Music Techniques 2-1, 2-2 Practical Study 2 Modern Languages (vocal students only) Large Ensemble 2 Any one of : • Subject in another Faculty • Composition 2 — Small Ensembles* • Philosophy of Education M and Techniques in Musicianship YEARS 3 & 4: (available in 1991 & 1992 respectively) Subjects to be completed for music performance specialization: Points Music Performance 3 6 Music Performance 4 6 Modern Languages (vocal students only) 1 Large Ensemble 3 12 (or 13 for singers) and Any other subjects totalling 18 points (17 points for singers).

• Students wishing to enrol in Composition in Second Year should attend the Creative Studies course in Fi Year during second semester. Admission to Composition 2 — Small Ensembles will normally be based participation in this course.

30 PROGRAMME FOR SPECIALIZATION IN MUSIC THERAPY YEAR 1: (available in 1989) 740-108 Aural Training 1 740-118/119 Music History 1-1, 1-2 740-128/129 Music Techniques 1-1,1-2 740-136 Practical Study 1 171-100 Psychology 1 740-109 Large Ensemble 1 YEAR 2: (available in ig90) Aural Training 2 Music History 2 Music Techniques 2-1, 2-2 Practical Study 2 Psychology 2M Techniques in Musicianship Large Ensemble 2 YEARS 3 & 4: Subjects to be completed for music therapy specialization: YEAR 3: (available in 1991) Points Human Growth and Development 2 Physiology for Musicians 2 Systems of Music Education 4 Applications of Music in Therapy 6 Large Ensemble 3 YEAR 4: (available in 1992) Advanced Techniques in Musicianship 4 Influence of Music on Behaviour 2 Clinical Practice in Music Therapy 8

28 Any other subject totalling 2 points in either of Years 3 or 4.

31 DEGREE OF BACHELOR OF MUSIC [PRE-1989] No new students will be admitted to the first year of this course in 1989. First Year (no longer available) 740-102 Aural Training 1 740-111 Music History 1A 740-113 Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1 Modern Languages (Vocal Students)" A subject in another Faculty Second Year 740-112 Acoustics 740-202 Aural Training 2 740-211 Music, History 2A 740-213 Music Language Studies 2 740-214 Composition — Small Ensembles'* 740-215 Ensemble 2 740-216 Music Performance 2" Modern Languages (Vocal Students)" Third Year 740-311 Music History 3A 740-313 Music Language Studies 3 Either 740-316 Music Performance 3 or 740-314 Composition — Electronic Music 740-315 Ensemble 3 Modern Languages (Vocal Students)* Fourth Year Either 740-411 Music History 4A or 740-416 Music Performance 4 or 740-414 Composition — Instrumental and Vocal 740-412 Electives"" 740-415 Ensemble 4 Modern Languages (Vocal Students)* All students should note the following: Subjects of the B.Mus. course which are offered at Honours level are listed under the B.Mus.(Honours degree). Students enrolled for the pass degree may, with approval, enrol in individual subjects at Honours level. Except in the case of 740- 271 Music History 2A (Honours), admission will normally be based on the gaining of an A result in the relevant subject of the preceding year. Composition students should note the following: Students wishing to enrol in Composition in Second Year will need to have attended the Creative Studies course in First Year. Admission to 740-214 Com­ position — Small Ensembles will normally be based on participation in this course. In Second Year, students may include their own compositions in their programme for the Music Performance 2 examination during the Assessment period.

For code numbers, see Details of Subjects Students are required to undertake either 740-214 (Composition — Small Ensembles) or 740-216 (Music Performance 2). Permission must be obtained if a student wishes to undertake both these subjects — Students taking 740-416 (Music Performance 4) or 740-414 (Composition — Instrumental and Vocal) may take 740-411 (Music History 4A) in lieu ot the Electives.

32 Vocal students should note the following: For students whose practical study is singing the following changes to the course outline above apply: Vocal students are required to enrol in Modern Languages in addition to the subjects listed. For their Ensemble, the Dean will normally direct vocal students to take group piano or keyboard accompaniment. MUSIC THERAPY: Students taking the Bachelor of Music course with a view to training as music therapists should enrol in the subjects set out below: First Year (no longer available) 740-102 Aural Training 1 740-111 Music History 1A 740-113 .Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1 171-100 Psychology 1 Second Year 740-202 Aural Training 2 740-211 Music History 2A 740-213 Music Language Studies 2 740-215 Ensemble 2 740-216 Music Performance 2 740-226 Group Music Performance 1 171-211 Psychology 2M Third Year 740-311 Music History 3A 740-313 Music Language Studies 3 740-315 Ensemble 3 740-316 Music Performance 3 740-326 Group Music Performance 2 740-332 Introduction to Music Therapy 760-005 Human Growth and Development Fourth Year Either 740--401 Music History 4B or 740--416 Music Performance 4 740--112 Acoustics 740--415 Ensemble 4 740--432 Clinical Practice in Music Therapy 740--433 Curriculum Studies in Music Therapy

33 BACHELOR OF MUSIC (HONOURS DEGREE) [PRE-1989] The degree of Bachelor of Music (Honours) will be awarded to students who have reached a satisfactory level of honours in the required subjects listed below. Admission to the honours degree will normally be at the commencement of the Third Year, and will normally be limited to students who have attained the follow­ ing results in year two of the course: A in 740-213 Music Language Studies 2, and A in either 740-216 Music Performance 2, or 740-214 Composition — Small Ensembles, and either A in 740-211 Music History 2A or at least H2A in 740-271 Music History 2A (Honours). Intending honours students are expected to take 740-271 Music History 2A (Honours) in the Second Year. For admission to the fourth year of the honours course students must have achieved a mark of at least H2A level in the previous year in 740-371 Music History 3A (Honours), and any one of the following: — at least H2A level in 740-376 Music Performance 3 (Honours), or — at least H2A level in 740-374 Composition — Electronic Music (Honours), or — an A 740-313 Music Language Studies 3. Specifically, students must have normally achieved: — an A in 740-313 Music Language Studies 3, to enrol in 740-471 Music History 4A (Honours); — at least H2A in 740-374 Composition — Electronic Music (Honours), to enrol in 740-474 Composition — Instrumental and Vocal (Honours); — at least H2A in 740-376 Music Performance 3 (Honours), to enrol in 740- 476 Music Performance 4 (Honours). The ranking order for the award of an honours degree is established on the basis of the average mark of: — Electives; — the thesis comprising Musicology (Hons); and — the speciality (either Music History, Performance or Composition). Third Year 740-371 Music History 3A (Hons) 740-313 Music Language Studies 3 Either 740-376 Music Performance 3 (Hons) or 740-374 Composition — Electronic Music (Hons) 740-315 Ensemble 3 Fourth Year 740-412 Electives 740-415 Ensemble 4 Either 740-471 Music History 4A (Hons) or 740-476 Music Performance 4 (Hons) or 740-474 Composition — Instrumental and Vocal (Hons) 740-472 Musicology (Hons.) Composition, Vocal, and Music Therapy students should note the special require­ ments for their respective courses listed under the ordinary degree.

34 DEGREE OF BACHELOR OF MUSIC EDUCATION [PRE-1989]

No new students will be admitted to the first year of this course in 1989. First Year (No longer available) 740-102 Aural Training 1 740-111 Music History 1A 740-112 Acoustics 740-113 Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1 Second Year 740-202 Aural Training 2 740-211 Music History 2A (Pass) or 740-271 Music History 2A (Hons) 740-213 Music Language Studies 2 740-215 Ensemble 2 740-216 Music Performance 2 740-226 Group Music Performance 1 720-022 Philosophy of Education M Third Y*ear 740-311 Music History 3A (Pass) or 740-371 Music History 3A (Hons) 740-313 Music Language Studies 3 740-315 Ensemble 3 740-326 Group Music Performance 2 740-339 Introduction to Teaching 720-033 Educational Psychology M Fourth Year 740-401 Music History 4B (Pass) or 740-461 Music History 4B (Hons) 740-415 Ensemble 4 720-044 Sociology of Education M 720-045 Curriculum Studies 720-046 School Practice Students should note the following: Where a subject is offered at Honours level, admission will normally be based on a result of A in a pass subject of the preceding year, or at least H2A in an Honours subject of the preceding year. Where a student obtains a result of A in 740-216 Music Performance 2, permis­ sion may be given for that student to enrol in 740-376 Music Performance 3 (Hons) in Third Year. The subject will not count towards the degree. Students whose practical study is singing may elect to study the Modern Languages subjects required for vocal students in the B.Mus. course. Vocal students will normally be directed by the Dean to take group piano or keyboard accompaniment as their Ensemble. Students enrolled for B.Mus.Ed. who wish to undertake Composition studies may, with special approval, enrol for 740-214 Composition — Small Ensem­ bles in Third Year.

35 DETAILS OF SUBJECTS SUBJECTS FIRST AVAILABLE IN 1989 OR IN 1990 [FIRST AND SECOND YEAR SUBJECTS OF THE NEW BACHELOR OF MUSIC DEGREE COURSE] 740-108 AURAL TRAINING 1 Lecturer: Mr G. A. R. Bartle A course of two hours per week for two semesters in Year 1. The completion of a taped course in music perception. SYLLABUS Students will be expected to become familiar with tonic sol-fa symbols and their corresponding hand signs. The course will concentrate on: (i) the development of aural skills involving intervals and triads occurring in major and minor scales; pentatonic scales; (ii) the development of musical memory, leading to melodic, rhythmic and two- part dictation; recognition of basic progressions in diatonic harmony; (iii) the recognition of simple forms and cadences; (iv) sight singing and rhythm reading. ASSESSMENT A 1 -hour dictation test (50%) and a short practical test (50%) during the Novem­ ber examination period. Students must complete the taped course in music dicta­ tion before being admitted to the end-of-year tests.

740-208 AURAL TRAINING 2 Lecturer: Mr G. A. R. Bartle Prerequisite: 740-108 Aural Training 1. A course of two hourc per week for two semesters in Year 2. SYLLABUS A continuation of the work begun in first year, using more advanced techniques. The developing of: (i) awareness of modality, and the intervals and triads involved in the various modes; (ii) aural skills involving triadic functions within major, minor and modal tonality, chords of the seventh, chromatic chords and secondary dominants; (iii) musical memory leading to dictation of chord progressions and more ad­ vanced melodic and rhythmic dictation; (iv) more advanced skills in sight singing and rhythm reading. ASSESSMENT A 1-hour dictation test (50%) and a short practical test (50%) during the Novem­ ber examination period.

740-109 LARGE ENSEMBLE 1 Course Co-ordinator: Mr G. A. R. Bartle A subject normally of not more than three hours per week in Year 1. Extra rehears­ al time may be required prior to major performances. SYLLABUS Participation in either: • Faculty Orchestra, or • Faculty Choir

36 ASSESSMENT Students will be awarded a pass or fail on the basis of satisfactory attendance and participation at rehearsals throughout the year as well as at all performances of the ensemble in which the student is enrolled. No student may participate in a performance without having completed satisfactory attendance at rehearsals.

740-209 LARGE ENSEMBLE 2 Course Co-ordinator: Mr G. A. R. Bartle Prerequisite: 740-109 Large Ensemble 1. A subject normally of not more than three hours per week in Year 2. Extra rehears­ al time may be required prior to major performances. SYLLABUS AND ASSESSMENT As for Large Ensemble 1

MODERN LANGUAGES Course Co-ordinator: Mr G. A. R. Bartle Each of the following subjects will be offered in rotation. In 1989 the subject will be German, in 1990 French and in 1991 Italian. Vocal students are required to complete each of the three subjects before being eligible to graduate. The course in each subject consists of one hour per week throughout the year.

740-125 MODERN LANGUAGES — FRENCH SYLLABUS Vocal works in French. Study of basic grammar, comprehension, enunciation, pronunciation and simple translation into English.

740-126 MODERN LANGUAGES — ITALIAN SYLLABUS Study of Italian Arie and other vocal works. Basic grammar, comprehension, enunciation, pronunciation and simple translation into English.

740-127 MODERN LANGUAGES — GERMAN SYLLABUS Vocal works in German. Basic grammar, comprehension, enunciation, pronuncia­ tion and simple translation into English. ASSESSMENT (FOR EACH MODERN LANGUAGE SUBJECT) 1. One 2-hour examination paper. 2. Oral test. This must be satisfactorily passed before a result in the subject can be obtained.

MUSIC COMPOSITION STUDIES GENERAL INFORMATION No student will be permitted to enrol in Composition without having satisfied the Faculty of an ability to carry out the appropriate subjects. Admission will normally be made on the basis of compositions submitted at the end of year one. It is anticipated that a Creative Studies Course will be available in semester 2 of Year 1 for students wishing to enrol in Composition in Year 2.

37 740-227 MUSIC COMPOSITION 2 — SMALL ENSEMBLES

A series of tutorials of one hour per week throughout the year. SYLLABUS A study of composition techniques for solo instruments, voice and chamber ensembles. Students will be expected to develops critical awareness of their own style of composition in relation to the overall development of the art and the present trends. In meeting these objectives, students will (in consultation with the lecturer) choose from the areas listed a course designed to meet their particular interests and needs and approved by the Faculty not later than the end of the first semester. ASSESSMENT Assessment will be based on a folio of works composed during the year. The number and nature of the works will be determined and approved in accordance with the course of study and must be presented within a week after the end of semester 2.

MUSIC HISTORY SUBJECTS All students are required to complete the subjects Music History 1-1, 1-2 in the first year. To satisfy the requirements for Music History 2, students must complete two of the following Genre Studies: 740-250 Music History 2A: Keyboard Music 740-251 Music History 2B: Chamber Music 740-252 Music History 2C: Symphonic Music 740-253 Music History 2D: Opera Only two Genre Studies will be offered in each semester. No student will be permitted to enrol in Music History 2(A, B, C or D) until both Music History 1-1 and 1-2 have been passed. Students enrolling for Music History 1-1 should be able to read musical scores competently, and should possess a basic knowledge of harmony, counterpoint and form.

740-118 MUSIC HISTORY 1-1 Course Co-ordinator: Professor M. Brimer A subject in semester 1 of Year 1 consisting of two lectures and one tutorial each week. SYLLABUS A survey of Western music from the early Middle Ages until c.1750 illustrated by representative works of the period. ASSESSMENT 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

740-119 MUSIC HISTORY 1-2 Course Co-ordinator: Professor M. Brimer A subject in semester 2 of Year 1 consisting of two lectures and one tutorial each week. SYLLABUS A survey of Western music from c.1750 to the present day illustrated by repre­ sentative works of the period.

38 ASSESSMENT 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

740-250 MUSIC HISTORY 2A — KEYBOARD MUSIC Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2 A subject consisting of two lectures and one tutorial each week for one semester. SYLLABUS A study of the history of keyboard music from its origins until the present day, illustrated by selected works from the genre. ASSESSMENT 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

740-251 MUSIC HISTORY 2B — CHAMBER MUSIC Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2 A subject consisting of two lectures and one tutorial each week for one semester. SYLLABUS A study of the history of chamber music from its origins until the present day, illustrated by selected works from the genre. ASSESSMENT 1. A written assignment of not more than 2.000 words (40%). 2. One 3-hour examination paper (60%).

740-252 MUSIC HISTORY 2C — SYMPHONIC MUSIC Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2 A subject consisting of two lectures and one tutorial each week for one semester. SYLLABUS A study of the history of symphonic music from its origins until the present day, illustrated by selected works from the genre. ASSESSMENT 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

740-253 MUSIC HISTORY 2D — OPERA Prerequisites: 740-118 Music History 1-1 and 740-119 Music History 1-2 A subject consisting of two lectures and one tutorial each week for one semester. SYLLABUS A study of the history of opera from its origins until the present day, illustrated by selected works from the genre. ASSESSMENT 1. A written assignment of not more than 2,000 words (40%). 2. One 3-hour examination paper (60%).

39 MUSIC TECHNIQUES SUBJECTS All students will study the sequence Music Techniques 1 -1, 1-2,2-1, 2-2. Keyboard Proficiency Test: This test is intended to ensure the proficiency of all students in working Music Techniques exercises at the keyboard. To progress beyond semester 4 level in the course a student must have passed the keyboard proficiency test. The test will include exercises in the playing of simple pieces in chorale and two-part contrapuntal styles. Classes will be conducted for students who are unable to pass the test at the time of entry to the course.

740-128 MUSIC TECHNIQUES 1-1 Lecturer: Dr M. Gillies A subject in semester 1 of Year 1 consisting of one lecture and one tutorial each week. Additional tutorials may be scheduled if necessary. SYLLABUS 1. Analysis and writing of simple melodies. 2. Analysis of diatonic and elementary chromatic harmony based on late- Baroque practice, and associated exercises. 3. Analysis of Bach chorales and writing in chorale style. ASSESSMENT 1. Weekly assignments (50%). 2. One 3-hour examination at the end of the semester (50%). A pass mark must be obtained in each section of the assessment.

740-129 MUSIC TECHNIQUES 1-2 Lecturer: Dr M. Gillies Prerequisite: 740-128 Music Techniques 1-1 A subject in semester 2 of Year 1 consisting of one lecture and one tutorial each week. SYLLABUS 1. Principles of more advanced chromatic harmony based on late-Baroque prac­ tice, and associated exercises. 2. Principles of figured bass, and exercises in figured bass realization. 3. Analysis of Bach two-part inventions and other late-Baroque keyboard pieces, and writing in these styles. 4. Analysis of Classical string quartet movements, and writing in these styles. ASSESSMENT 1. Weekly assignments (50%). 2. One 3-hour examination at the end of the semester (50%). A pass mark must be obtained in each section of the assessment.

740-228 MUSIC TECHNIQUES 2-1 Lecturer: Mr D. Thornton Prerequisite: 740-129 Music Techniques 1-2 A subject in semester 1 of Year 2 consisting of one lecture and one tutorial each week.

40 SYLLABUS 1. Principles of advanced chromatic harmony based on Classical and early Romantic practice, and associated exercises. 2. Analysis of Baroque counterpoint, and writing of contrapuntal exercises in up to three parts. 3. Analysis of Classical and early Romantic pianoforte pieces, and writing of short pieces in selected styles. 4. Principles of instrumentation, and writing or arrangement of short pieces for various combinations of instruments. ASSESSMENT 1. Weekly or fortnightly assignments (50%). 2. One 3-hour examination at the end of the semester (50%). A pass mark must be obtained in each section of the assessment.

740-229 MUSIC TECHNIQUES 2-2 Lecturer: Mr D. Thornton Prerequisite: 740-228 Music Techniques 2-1 A subject in semester 2 of Year 2 consisting of one lecture and one tutorial each week. SYLLABUS 1. Principles of harmony and counterpoint based on Romantic practice, and associated exercises. 2. Principles of instrumentation, and writing or arrangement for various combina­ tions of instruments. 3. Analysis of Romantic art songs, and related exercises. 4. Introduction to serial technique, and writing of serial pieces. ASSESSMENT 1. Weekly or fortnightly assignments (50%). 2. One 3-hour examination at the end of the semester (50%). A pass mark must be obtained in each section of the assessment.

740-136 PRACTICAL STUDY 1 Course Co-ordinator: Mr R. Farren-Price A course in Year 1 consisting of one individual lesson of 45 minutes throughout the teaching year or one individual lesson of 45 minutes each fortnight plus one group lesson of 1.5 hours each fortnight. SYLLABUS The course aims to develop instrumental and vocal technique, and awareness of the stylistic and interpretative characteristics of the repertory studied. ASSESSMENT A 25-minute examination at the end of the course. The programme should contain works in contrasting styles, and demonstrate a breadth of technical accomplish­ ment. Programmes containing the above requirements should be submitted to the Faculty Office not later than 30 September. The programme may include up to 5 minutes of orchestral excerpts. Students are reminded that the length of the programme should allow for pauses between works. Programme forms are avail­ able from the Faculty Office. The programme should not include works performed , at the VCE Music A examination or its equivalent.

41 740-236 PRACTICAL STUDY 2 Course Co-ordinator: Mr R. Farren-Price Prerequisite: 740-136 Practical Study 1. A course in Year 2 consisting of one individual lesson of 45 minutes throughout the teaching year or one individual lesson of 45 minutes each fortnight plus one group lesson of 1.5 hours each fortnight. There will be an additional seminar of one hour per week in one semester in the Art of Teaching. SYLLABUS (1) Further development of the areas studied in Practical Study 1. (2) (a) An outline of teaching aims and available methods; and (b) study of teaching repertory at three levels: beginners, mid-school stand­ ard, school leaving standard. ASSESSMENT (1) A 25-mihute examination at the end of the course. Programmes containing works in contrasting styles should be submitted to the Faculty Office not later than 30 September. Programme forms are available from the Faculty Office. (80%) (2) A 15-minute practical test at the end of the course on teaching repertory and teaching method. A list of teaching pieces, studies, and beginners' books is to • be prepared with the assistance of the student's Practical Study teacher. This will form the basis of the teaching repertory. Students are to submit this list to the Faculty Office by the third Monday of the semester. (20%)

740-137 PRACTICAL STUDY 1A Course Co-ordinator: Mr R. Farren-Price A course consisting of individual lessons, group teaching and ensemble classes throughout the teaching year. The course will consist of either one individual lesson of 45 minutes weekly or one individual lesson of 45 minutes per fortnight plus one group lesson of 1.5 hours per fortnight. Ensemble classes will normally be not more than three hours per week. This course is for students in other faculties wishing to take practical music, as well as for Faculty of Music students approved to take a second performance study. Students will attend the same classes as Practical Study 1 students en­ rolled in the Faculty of Music. A quota will be imposed by the Faculty of Music on enrolments in Practical Study 1 A. Applications for entry to the quota close on 14 February of each year. Applica­ tion forms are available from the Faculty Office. Except with the permission of the Faculty, students must have reached VCE (HSC) or an equivalent standard in the instrument concerned to enrol in the subject. SYLLABUS 1. The course aims to develop instrumental or vocal technique and awareness of the stylistic and interpretative characteristics of the repertory studied. 2. Participation in ensemble activities. Ensemble classes seek to develop those skills that are essential in making music with others while building a knowledge of the repertory of orchestral, choral or chamber music through the experience of communal performance. Each ensem­ ble study will be directed by a member of staff. Students are required to attend regularly and participate in one of the following activities, not all of which will be offered in any one year:

42 • Orchestral rehearsals and performances • Choir rehearsals and performances • Instrumental or vocal group rehearsals and performances • Chamber music classes • Keyboard accompaniment classes • Early music • New music ensemble • Hand bells • Jazz ensemble Students may be directed by the Faculty to participate in any one of the specified ensembles. ASSESSMENT 1. A 25-minute practical examination at the end of the course. The programme should contain works in contrasting styles, and demonstrate a breadth of technical accomplishment. Programmes containing the above requirements should be submitted to the Faculty Office not later than 30 September. The programme may include up to five minutes of orchestral excerpts. Students are reminded that the length of the programme should allow for pauses be­ tween works. Programme forms are available from the Faculty Office. The programme should not include works performed at the VCE (HSC) Music A examination or its equivalent. 2. Participation in ensemble activities: Students will be awarded a pass or fail on the basis of satisfactory attendance and participation at rehearsals throughout the year as well as at all perfor­ mances of the ensemble in which the student is enrolled. No student may participate in a performance without having completed satisfactory attend­ ance at rehearsals. If no approved public performance is given during the year an ensemble examination, normally of 15 minutes, will be held. The ensemble component of Practical Study 1A must be passed before a result can be obtained in the subject, although the ensemble segment will not be counted in the final result. For information regarding participation in Ensemble activities, students from other faculties should apply to the Faculty of Music Office.

740-240 TECHNIQUES IN MUSICIANSHIP Course Co-ordinator: Mr G. A. R. Bartle A course in Year two consisting of three hours per week for the first half of semester 1, reducing to 1.5 hours per week for the remainder of the year. Music education specialization students will visit ten schools for observation during the course of the year; music therapy students will undertake ten clinical experience visits. SYLLABUS (a) First half of semester 1: All students: Vocal activities, 1 hour per week and Group guitar, 1 hour per week /and For Music education specialization: group percussion, 1 hour per week For Music therapy specialization: Either: group percussion, 1 hour per week or: group accordion, 1 hour per week. (b) Second half of semester 1: All students: Choral Skills and Conducting, 1.5 hours per week (c) Semester two: All students: Group Improvisation, 1.5 hours per week

43 The various activities will be conducted in group teaching and workshop situa­ tions and will be concerned with the development of musicianship skills pertinent to education and therapy programmes, including song repertoire, a knowledge of commonly used chord progressions on guitar or accordion, some acquaintance with percussion techniques, gesture and rehearsal skills associated with the con­ ducting of choral programmes, and song improvisation using various instruments, body percussion and the voice. ASSESSMENT (a) At the end of semester 1 a short practical test in singing and accompanying oneself on any one of piano, guitar or accordion (50%) (b) A 1,500-word assignment at the end of semester two (50%) (c) Presentation of an observation book on the last Tuesday of semester 2 con­ taining relevant notes on music lessons or clinical experience seen in each of the ten observation sessions. Students must have attended each of the observation visits and have attended and participated in class work to the satisfaction of the Examination Board.

SUBJECTS AVAILABLE PRIOR TO 1989 740-112 ACOUSTICS A subject of two lectures per week in first semester. SYLLABUS A selection will be made from the following topics: Basic concepts of acoustics: periodic motion, wave motion. Wave propagation, interference, beats, stationary waves. Forced vibration and resonance. Vibration of strings, air columns and other systems. Loudness: musical dynamics, masking. Pitch: perception, fundamental tracking, role of harmonics. Quality. Physiological acoustics: the ear, the voice. Application of acoustical principles to music: archi­ tectural acoustics. Intervals, scales and temperament. Quasi-stationary sounds: piano, clavichord, harpsichord. Bowed strings: the violin family. Woodwinds: flute, oboe and clarinet families. Brass family, organ pipes. Percussion. ASSESSMENT Students who have completed a first year tertiary course in physics may apply to the Faculty for possible exemption from the introductory lectures. One 2-hour examination paper at the beginning of second semester.

740-202 AURAL TRAINING 2 A course of two hours per week throughout the year. SYLLABUS A continuation of the work begun in first year, using more advanced techniques. The developing of: (i) awareness of modality, and the intervals and triads involved in the various modes; (ii) aural skills involving triadic functions within major, minor and modal tonality, chords of the seventh, chromatic chords and secondary dominants. (iii) musical memory leading to dictation of chord progressions and more advanced melodic and rhythmic dictation. (iv) more advanced skills in sight singing and rhythm reading. ASSESSMENT 1. A one-hour dictation test. 2. A short practical reading test.

44 740-432 CLINICAL PRACTICE IN MUSIC THERAPY A subject comprising a minimum of 3 hours per week throughout the year, con­ sisting of lectures, tutorials and demonstrations to be given at: Mount Royal Hospital Royal Children's Hospital Larundel Hospital Caulfield Hospital Kew Cottages Students will attend these sessions on one day per week. Lectures and videotapes will normally be followed by 1V2 to 2 hours of discussion and observation. SYLLABUS (Students will be notified of the order of the hospital visits at the commencement of the academic year.) Mount Royal Hospital (9 sessions) Emotional and neurological conditions of the aged. Royal Children's Hospital (6 sessions) Treatment for disabled children. Larundel Hospital (7 sessions) Introduction to Psychiatry. Caulfield Hospital (3 sessions) Multidisciplinary approach to adult rehabilitation. Kew Cottages (6 sessions) Intellectual disability services. ASSESSMENT Assessment will be under the supervision of the Music Therapy lecturer appointed by the Faculty of Music, who will consult with the teachers in the various hospi­ tals. Students will submit five assignments of 1,000-2,000 words each, during the year. The presentation of an observation book containing relevant comments on therapy sessions seen in each of the five agencies visited is required. Before being admitted to final assessment in the subject, students must have attended and participated in the prescribed hospital sessions to the satisfaction of the Faculty.

COMPOSITION STUDIES GENERAL INFORMATION No student will be permitted to enrol in Composition without having satisfied the Faculty of an ability to carry out the appropriate subjects. Admission will be made on the following basis: (i) Following completion of the Creative Studies course in Year 1. (ii) As a substitute for Music Performance in Second, Third and Fourth Years of the course. (iii) By special permission only in the B.Mus.Ed. course. (iv) Composition — Instrumental and Vocal cannot be taken until Composition — Small Ensembles has been completed.

740-214 COMPOSITION — SMALL ENSEMBLES A series of seminars and tutorials throughout the year of two hours per week.. SYLLABUS Students will study traditional composition techniques for solo instruments, voice, chamber ensembles and string orchestra. They will be expected to develop a

45 critical awareness of tfieir own style of composition in relation to the overall developments of the art and the present trends. Because the process of musical composition is a form of imaginative invention, students will not be necessarily obliged to accept any method leading towards imitation of existing styles. In meeting the objectives outlined, students will (in consultation with the teacher) choose from theareas listed, a course designed to meet their particular interests and needs and approved by the Faculty not later than the end of May. ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study and must be presented by the first day of the Assessment period.

740-314 COMPOSITION — ELECTRONIC MUSIC A series of tutorials and seminars of two hours per week and four hours of laboratory work per week in the electronic music studio throughout the year (this being equivalent to private study). Students will be asked to enrol in either Com­ position — Small Ensembles or Composition — Electronic Music for their first year of composition studies. SYLLABUS In addition to a further study of traditional music composition techniques, as required, students will make a special study of electronic music. The details of the choice and approval of course as for Composition — Small Ensembles. ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study.

740-374 COMPOSITION — ELECTRONIC MUSIC (HONOURS) In addition to the requirements for the Pass subject, a seminar of one and a half hours per week in semester 2, in which electronic techniques will be considered in greater detail and a broader range of styles will be studied. Students must nor­ mally have gained an A in 740-214 Composition — Small Ensembles to enrol in this subject. ASSESSMENT As for Composition — Electronic Music, but with a more substantial folio of works.

740-414 COMPOSITION — INSTRUMENTAL AND VOCAL A series of study seminars of two hours per week throughout the year. All stu­ dents will be expected to show competence in all areas of composition so far studied and will also be expected to write a substantial piece of music which includes the full orchestra. Students will normally be expected to have passed Composition — Small Ensem­ bles and Composition — Electronic Music before presenting for Composition — Instrumental and Vocal. The details of the choice and approval of the topics as for Composition — Small Ensembles. ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study.

46 740-474 COMPOSITION — INSTRUMENTAL AND VOCAL (HONOURS) In addition to the requirements for the Pass subject, a seminar of one and a half hours per week in semester 2, in which more detailed study of instrumental, vocal and electronic techniques involving a broader range of compositional styles will be studied. Music in the theatre, multi-media techniques and computer music will be investigated. Students must normally have gained either an A in 740-314 Composition — Electronic Music or at least H2A in 740-374 Composition — Electronic Music (Honours) to enrol in this subject. ASSESSMENT As for Composition — Instrumental and Vocal, but with a more substantial folio of works.

720-045 CURRICULUM STUDIES Approximately 50 lectures and workshops throughout the year. SYLLABUS The subject will consist of an examination of the principles of curriculum planning, teaching methodology, testing and evaluation. Such areas as classroom tech­ nique; conducting; creative workshops, technology and music; the organization of extra-curricular activities, and designing a course for junior secondary music will be emphasized. Students will normally study methods of teaching general classroom music. How­ ever, students with a strong background (with the exception of piano or organ) in instrumental music may be permitted to study methods of instrumental teaching. ASSESSMENT Students will be required to reach a satisfactory standard in all course work and participation in workshops. 740-433 CURRICULUM STUDIES IN MUSIC THERAPY A subject comprising approximately 60 lectures, seminars, tutorials and work­ shops throughout the year. SYLLABUS Methods and techniques used in music therapy programmes will be examined, including harmonization of melodies; transposition; atonal and tonal improvisa­ tion; book reviews; composition of original songs; guided imagery, counselling skills and seminars in professional development. ASSESSMENT Students will be required to compile a folio of songs appropriate to all age groups, and to participate throughout the year in practical demonstrations to the satisfac­ tion of the Faculty. A 30 minute viva voce examination of methods, techniques and the song repertoire, on an accompanying instrument, is required at the end of the year. 720-033 EDUCATIONAL PSYCHOLOGY M Mr R. F. Garton A subject covering approximately 50 hours of lectures, tutorials and seminars. SYLLABUS The topics of the course are as follows; 1. Social psychology of education 2. Child and adolescent psychology and cognitive psychology 3. Learning, assessment and individual differences

47 ASSESSMENT All the above topics will be independently assessed. The assessment may com­ prise an essay of about 2,500 words, or a written assignment, or an examination, or an examination and an assignment.

740-412 ELECTIVES A course throughout the year in any two of the subjects listed below. Electives may be taught in consecutive semesters (two one-hour lectures per week for each subject) or throughout the year (one one-hour lecture per week for each subject). A list of available electives and teaching schedules will be posted on notice-boards during the re-enrolment period. Note: Insufficient enrolment may be a ground for suspending an elective. ASSESSMENT Where appropriate, students must have attended and participated in the course to the satisfaction of the Faculty before being admitted to final assessment. Assessment for each elective will be according to that detailed in the appropriate handbook entry. Both electives must be passed before a result will be returned in the course.

CHURCH MUSIC IN ENGLAND SYLLABUS A course designed to examine the finest choral church music composed and performed in England from about 1500 to the present century. Both Latin church music of the Renaissance, and all important foreign and secular influences will be investigated. ASSESSMENT 1. Two assignments of not more than 2.000 words each, one of which may involve transcription from late Renaissance vocal notation. The marks for these two assignments must average a pass before a student can be admitted to the second part of the assessment. 2. One 3-hour examination paper. The final mark for the subject will be determined wholly by the examination paper.

THE 1890s SYLLABUS This elective will examine selected works from the 1890s, drawing occasional conclusions concerning such issues as nationalism in music and musicians, expansion/contraction/disintegration evident in various musical parameters, new approaches to the setting of texts, the relation of music to the other arts and to prevailing politico-economic circumstances. It is expected that the course will concentrate on an examination of the output of a small number of the following composers;

Tchaikovsky, Rakhmaninov, Rimsky-Korsakov, Brahms, Dvorak, Verdi, Schoen­ berg, Puccini, Elgar, Richard Strauss. Mahler, Debussy, Ravel, Faure, Chabrier, Satie, Reger, Albeniz, Grieg, Saint-Saens, MacDowell, Ives, Balakirev. Wolf, Skryabin. ASSESSMENT 1. One 35-minute class paper (20%). 2. One essay of not more than 2,500 words (30%). 3. One 2-hour examination (50%).

48 THE IBERIAN RENAISSANCE SYLLABUS An examination of Spanish and Portuguese music from the late 14th century until the early 17th century. The course examines the nexus between Aragon and the European mainstream during the Avignonese Papacy, the emergence of a dis­ tinctively Hispanic style in the 15th century cancioneros and the rich, influential repertory of sacred, secular and instrumental music from the Golden Age of the Spanish Empire. ASSESSMENT 1. Two essays of not more than 3,000 words each. 2. One class paper of 40 minutes.

MUSIC ANALYSIS Students may choose either music Analysis A or B. Please note: In any given year a particular area of the syllabus may be given special emphasis.

MUSIC ANALYSIS A SYLLABUS This course examines a selection of the following techniques of analysis: 1 (a) Schenkerian Theory and Analysis (Tonal Music). (b) Extensions of Schenkerian Theory (Pre-tonal and Atonal Music). 2 (a) Set Theory applied to Atonal Music, (b) Serial Music Theory and Analysis. ASSESSMENT 1. Two analyses each of a complete short piece, a movement from a larger work, or (in special cases) a partial analysis of a complete work (50%). 2. An examination in the form of a take-away paper set individually for each student. This would comprise either a further (but more extensive) analysis, or a theoretical essay of between 3,500 and 5,000 words (50%).

MUSIC ANALYSIS B SYLLABUS This is a course designed to examine major techniques of analysis in the 20th century. 1 (a) Thematic Analysis: The Techniques of Schoenberg, Reti and Keller. (b) Precursors of the Thematic Analysis (18th Century Phrase Analysis). 2. Structuralist and Semiotic Approaches to Music Analysis. ASSESSMENT 1. One seminar paper (40 minutes). 2. Two analyses, each of a complete short piece, a movement from a larger work, or (in special cases) a partial analysis of a complete work. 3. An examination in the form of a take-away paper set individually for each student. This would comprise either a further (but more extensive) analysis, or a theoretical essay of between 3,500 and 5,000 words.

MUSIC AND TECHNOLOGY SYLLABUS A critical study of the influences of technology on musical thinking and practice including the application of digital computers to solving musical problems.

49 Topics include: Philosophical: Technology and/of thinking (general) Historical: Technology and/of thinking (musical) Practical: solving simple musical problems with a digital computer and the high level programming lan­ guage APL. ASSESSMENT 1. One assignment ot approximately 3,000 words or equivalent. 2. Class papers. 3. One 1-hour examination on the computer.

MUSIC IN AUSTRALIA SYLLABUS The evolution of music in Australia from Settlement to the present day. An exami­ nation of: (i) the musical activities in the period Settlement to Federation (ii) the development of creative music to 1945 ' (iii) the 'coming of age' of Australian composition 1945 to present day (iv) the influences of institutions and organizations such as the Australian Broad­ casting Corporation, Musica Viva, various University music departments, and federal and state committees and boards created to develop and fund music in Australia. ASSESSMENT 1. Up to two seminar papers or essays. 2. One 3-hour written examination paper.

THE MUSIC OF BEETHOVEN SYLLABUS A critical and chronological study of the works of Beethoven. ASSESSMENT 1. One essay of about 3,000 words. 2. One 3-hour written examination paper.

MUSIC OUTSIDE THE WESTERN TRADITION SYLLABUS A survey of Music outside the Western Tradition. The origins of music as seen through primitive music cultures. The basic differences between this form and European music. The principles of Ethnomusicology. The music of Japan, China. South East Asia, India, Indonesia, Africa, the Middle East and the Americas. ASSESSMENT 1. Up to two seminar papers or essays. 2. One 3-hour written examination paper.

RENAISSANCE INSTRUMENTAL MUSIC SYLLABUS A study of instrumental music to about 1620 principally for lute and keyboard instruments, but also for other wind and string instruments with a significant extant literature. The course examines sources and styles from Italy, France, Germany, Spain, England and the Netherlands and investigates theoretical sources that document improvisation, embellishment and other performance practices of the period.

50 ASSESSMENT 1. Two essays of not more than 3,000 words each. 2. One class paper of 40 minutes.

THE OPERATIC TRADITION SYLLABUS A study of the operatic tradition from its beginnings in the 17th century up to the present day. ASSESSMENT 1. One written essay of approximately 3,000 words. 2. Class papers. 3. One 3-hour examination paper.

THE SYMPHONY IN THE 19TH CENTURY SYLLABUS A study of the development of the Symphony from Beethoven to Mahler. ASSESSMENT 1. One essay of about 3,000 words. 2. One 3-hour examination paper.

ENSEMBLE The subject Ensemble seeks to develop those skills that are essential in making music with others while building a knowledge of the repertory of orchestral, choral and chamber music through the invaluable experience of communal perfor­ mance. Each ensemble study will be directed by a member of staff, and the subject will entail a minimum of three hours contact per week. To satisfy the requirements of this subject, all students shall either play in the Faculty Orchestra or sing in the Faculty Choir, participating in such rehearsals and performances regularly throughout the year as shall be prescribed by the Faculty. In addition, all students in Years 2, 3 and 4 shall participate in a smaller ensemble selected from the list below, as offered from year to year. The Dean may direct which ensemble studies a student shall pursue. In the area of ensemble performance, the first responsibility of every student of the Faculty lies with the Faculty ensemble group of which he or she is a member. SMALL ENSEMBLE OPTIONS: Early Music Hand Bell Ringing Keyboard Accompaniment Chamber Music New Music Ensemble Brass Ensemble String Orchestra Vocal Ensemble Jazz Ensemble

740-215 ENSEMBLE 2 A subject in Year 2 of a minimum of 3 hours per week. SYLLABUS Participation in Ensemble activity as detailed above. ASSESSMENT Satisfactory regular attendance at rehearsals throughout the year, and participa­ tion in all performances of the Ensembles in which the student is enrolled. No student may participate in a performance without having completed satisfactory and regular attendance at rehearsals.

51 740-315 ENSEMBLE 3 A subject in Year 3 of a minimum of 3 hours per week. SYLLABUS and ASSESSMENT As for Ensemble 2.

740-415 ENSEMBLE 4 A subject in Year 4 of a minimum of 3 hours per week. SYLLABUS and ASSESSMENT As for Ensemble 2.

740-226 GROUP MUSIC PERFORMANCE 1 A subject in Year 2 of 2 hours per week in which group teaching methods in music are introduced. This will include a study of the Orff and Dalcroze approaches in music education. There will be practical experience in workshops at levels suitable for teaching in: Percussion (Orff-type instruments) Music and Movement Vocal activities Keyboard Musicianship Recorder groups ASSESSMENT Participation in and attendance at Workshop activities and Keyboard Musicianship.

740-326 GROUP MUSIC PERFORMANCE 2 A subject in Year 3 of 2 hours per week in any one of the following workshop activities begun in Group Music Performance 1: Percussion (Orff activities) Dalcroze music and movement Kodaly choral method Works will be prepared and performed in an artistic and stylistically authoritative manner. Where student enrolment in any one of the three workshop areas does not exceed four, this area may be cancelled at the discretion of the Faculty after consultation with the lecturer. ASSESSMENT A practical test in the last week of the second semester involving group and individual activities. 760-005 HUMAN GROWTH AND DEVELOPMENT Note: This subject is offered through the Department of Social Work (in the Facul­ ty of Arts) to students undertaking studies in Music Therapy. A study over one semester of the social biology of the life span changes. This programme will be studied through lectures, small group discussion and self- directed learning on a contractual basis. Theories explaining adaptations during growth from conception to old age will be studied in relation to health care practice, the prevention and treatment of illness and the promotion of health. Particular attention will be given to controversial social issues associated with particular stages of development in the life span. ASSESSMENT Assignment of 2,500 words..

52 740-332 INTRODUCTION TO MUSIC THERAPY This subject will consist of one 2-hour lecture/tutorial per week throughout the year, with at least one lecture on the rights of patients and confidentiality. Clinical experience of one hour per week throughout the year in a health/special education facility approved by the Faculty will be required. SYLLABUS Aspects of music psychology including learning and memory; taste and prefer­ ence for music; musical ability; physiological, psychological and neurological aspects of musical response. The function of music in the treatment of physical, intellectual and emotional disorders in children and adults will be covered, includ­ ing treatment plans and case studies of individual clients. Group dynamics, and the role of the therapist in group situations, will be studied. Tuition in guitar and piano accordion is included. ASSESSMENT One 3-hour written examination at the end of the year, plus written assignments during the year. A pass grade must be achieved in the examination paper in order to gain a satisfactory pass in the subject as a whole.

740-339 INTRODUCTION TO TEACHING A subject comprising one 2-hour workshop per week throughout the year; obser­ vation of teaching and other school work in ten schools during the course of the year. SYLLABUS The subject is designed as an introduction to the methods and materials of music education, and as a guide to the formation of an appropriate philosophy for the teaching of music. The seminars will deal with such topics as: (a) A rationale for the teaching of music in schools. (b) A study of song literature for class and choir use in schools; choir training; vocal techniques; song teaching; conducting. (c) Keyboard skills; continuo realization; transposition; harmonization of melody; improvisation; vocal score reading. (d) Jazz. (e) Guitar. (f) Percussion. ASSIGNMENTS Six assignments will be given during the year. ASSESSMENT 1. A practical test in the Assessment period. 2. Six written assignments, of approximately 1,000 words each, submitted during the year. 3. The presentation of an observation book on the last Tuesday of the second semester containing relevant comments on music lessons seen in each of the ten schools visited. Students must have participated and attended at school visits. Students must attend seminars and participate in class work to the satisfac­ tion of the Examination Board.

53 740-211 MUSIC HISTORY 2A (PASS) CLASSICAL AND ROMANTIC MUSIC A subject in Year 2 of two lectures and one tutorial each week throughout the year. SYLLABUS A survey of European music from c. 1760 to c. 1914 illustrated with an analytical study of set works. The course will examine the flowering of the classical sympho­ ny in the second half of the eighteenth century and its expansions and modifica­ tions throughout the period to c. 1914, the development of opera from Gluck and Mozart through the German, Italian and French styles of the nineteenth century, the growth of sacred music outside an ecclesiastical setting, and the composition of instrumental works of a smaller nature during the period. ASSESSMENT 1. One written assignment of 2,000 words to be submitted at the end of the first semester. This assignment will account for 30% of the final mark. 2. Two 3-hour examination papers at the end of the year which will account for 70% of the final mark. A pass average in the examination papers must be obtained.

740-271 MUSIC HISTORY 2A (HONOURS) CLASSICAL AND ROMANTIC MUSIC In addition to the requirements for the pass subject, a lecture of one hour per week throughout the year. Except with the permission of the Faculty, students must normally have gained at least an upper level B in 740-111 Music History 1A to enrol in this subject. SYLLABUS As for the pass course with an investigation of additional subjects and areas of the period in greater depth. A study of additional set works. ASSESSMENT In addition to the requirements for the Pass course: One written assignment of not more than 2,000 words to be submitted at the beginning of the second semester. This assignment will account for 30% of the final mark in the Honours component; and One 3-hour examination paper at .the end of the year which will account for 70% of the final mark in the Honours component. The final marks obtained in the Pass and Honours components respectively will be averaged to yield the final result in the subject.

740-311 MUSIC HISTORY 3A (PASS) TWENTIETH CENTURY MUSIC A subject in Year 3 of two lectures and one tutorial per week throughout the year. SYLLABUS This study will be of the principal developments in music from the early twentieth century to the present day. Particular works will be studied and attention given to the broader historical and cultural issues. ASSESSMENT Not more than three assignments or seminar papers will be set and not more than two 3-hour papers together with class work and written work.

54 740-371 MUSIC HISTORY 3A (HONOURS) TWENTIETH CENTURY MUSIC In addition to the requirements for the pass subject, a seminar of one hour per week throughout the year. Except with the permission of the Faculty, students must normally have gained either an A in 740-211 Music History 2A or at least H2A in 740-271 Music History 2A (Honours) to enrol in this subject. SYLLABUS As for the pass course with an investigation of specific subjects and works in greater depth. ASSESSMENT Two assignments or seminar papers in addition to the pass course assessment requirements.

740-411 MUSIC HISTORY 4A (PASS) EARLY MUSIC A subject consisting of two lectures and one tutorial per week throughout the year. SYLLABUS A study of European music to c. 1550 including an introduction to the philosophy and practice of music in classical antiquity. The course aims to delineate the musical styles of the Medieval and Renaissance periods through a critical study of selected scores, and to examine theoretical writings and iconographical materials relating to performance practice and the role of music in society. ASSESSMENT One 3-hour examination paper and an essay assignment of approximately 2,500 words. 740-471 MUSIC HISTORY 4A (HONOURS) EARLY MUSIC In addition to the requirements for the pass subject, one seminar of one hour per week. Students must normally have gained either an A in 740-311 Music History 3A or at least H2A in 740-371 Music History 3A (Honours) to enrol in this subject. SYLLABUS In addition to the syllabus prescribed for Music History 4A (Pass level) there is an additional seminar in music paleography based on a study of western notations of the Middle Ages and Renaissance together with the concepts and practice of modern editorial technique. ASSESSMENT In addition to fulfilling the requirements of the Pass subject, students are assessed on transcriptions submitted as required throughout the year.

740-401 MUSIC HISTORY 4B (PASS) ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC A subject in Year 4 of one weekly seminar throughout the year. SYLLABUS This is a workshop course designed to fulfil the needs of students intending to enter the teaching profession. Its main thrust is directed towards a study of musical styles, forms, compositional and performance techniques of the period

55 c. 1100-1550. Students will explore the repertory of the period and also gain some practical experience in its performance. ASSESSMENT One written assignment of 2,500-3,000 words, a viva voce examination of the materials studied in seminars, and performance in class of prepared works.

740-461 MUSIC HISTORY 4B (HONOURS) ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC This subject is as prescribed for the Pass subject together with the additional one- hour weekly seminar in Paleography prescribed for Music History 4 (Honours). Students must normally have gained either an A in 740-311 Music History 3A or at least H2A in 740-371 Music History 3A (Honours) to enrol in this subject. ASSESSMENT In addition to fulfilling the requirements of the Pass course, students are assessed on transcriptions of early notations studied in the Paleography seminars submit­ ted as required throughout the year.

740-213 MUSIC LANGUAGE STUDIES 2 A subject in the second year consisting of one lecture and two tutorials each week throughout the year. It comprises a study of the styles and techniques of selected forms of music drawn largely from the period 1750-1850. SYLLABUS 1. Principles of chromatic harmony, and advanced forms of dissonance. 2. Vocal and instrumental harmony in up to four parts. 3. Solo and accompanimental styles of non-virtuoso pianoforte writing. 4. Baroque fugal expositions in up to three parts. 5. Orchestral scoring using the resources typical of the period 1750-1850. 6. Principles of musical structuring of this period. ASSESSMENT 1. Exercises set throughout the teaching year which will average not more than 50 bars each week. These exercises will account for 40% of the final mark. 2. Two 3-hour examination papers at the end of the year which will account for 60% of the final mark. ' A pass mark must be obtained in each section of the assessment.

740-313 MUSIC LANGUAGE STUDIES 3 A subject in the third year consisting of three contact hours (lectures and tutorials) each week throughout the year. It comprises a study of styles and techniques of selected forms of music drawn largely from the period 1850-1950. SYLLABUS 1. Chromatic harmony in the late-Romantic style. 2. The motive. 3. Principles of serial composition. 4. Introduction to electronic techniques. 5. Aleatoric graphic notation. 6. Diatonic popular styles of the mid-twentieth century. 7. Orchestral and chamber scoring of the period. 8. Principles of structuring of the period. ASSESSMENT 1. One 3-hour examination paper at the end of the year which will account for 15% of the final mark.

56 2. Six major assignments each of which will be no more than 64 bars in length. These assignments will account for 60% of the final mark. 3. Up to six written analytical exercises of not more than 500 words each. These exercises will account for 10% of the final mark. 4. A cassette of electronic exercises of not more than three minutes in duration, and undertaken in tutorial groups. These exercises will account for 15% of the final mark. A pass mark must be obtained in each section of the assessment.

MUSIC PERFORMANCE The purpose underlying studies in Music Performance is not simply the acquisi­ tion of those skills necessary for presenting musical works for enjoyment, but rather to provide the means by which sensitive personal insights as well as the subtle characteristics of different cultural and historic styles can be communicated. Tuition will involve individual lessons, group lessons and ensemble classes. CONTACT HOURS Contact hours for Music Performance 2, 3, 3 (Hons.), and 4 consist of: 1. (a) one individual lesson of 45 minutes each fortnight. plus (b) one 11/2-hour group lesson each fortnight OR 2. one individual lesson of 45 minutes each week, where one or two students are studying with the same teacher. Music Performance 4 (Hons.) students receive one hour group or individual lesson each week.

740-216 MUSIC PERFORMANCE 2 A course in Year 2 throughout the year consisting of individual lessons and group teaching. There will be a lecture of one hour per week for 19 weeks in the Art of Teaching, for which students will select, study and perform a programme of works which could form the basis of a teaching repertoire including a wide range of periods and styles. The course is designed to encourage the student to devise teaching programmes and methods which lead to a balanced emotional and intellectual approach to the art, and an insight into the meaning and effects of music. ASSESSMENT 1. A 15-minute practical test at the end of the course on teaching repertoire and teaching method must be passed before a result in the subject can be obtained but it will not be counted in the result. All students enrolled in Music Performance 2 must attend the Art of Teaching lectures. Attendance and participation in the classes will be taken into account in the assessment of the subject. A list of teaching pieces, studies and beginners books must be prepared with the assistance of the instrumental or vocal teacher. This will form the basis for the teaching repertoire. Performances in the class will be from this list. 2. A 30-minute examination at the end of the course. A programme containing major works in contrasting styles should be submitted to the Faculty Office not later than 31 August. The programme should include two studies. The examiners will choose one to be played at the examination. Pro­ gramme forms are available from the Faculty Office.

57 740-316 MUSIC PERFORMANCE 3 A course in Year 3 throughout the year consisting of individual lessons and group teaching. The programme will be of prepared works from the main music periods from which suitable material on the instrument is available, and will continue the critical study of interpretation commenced in Music Performance 1 and further devel­ oped in Music Performance 2. ASSESSMENT A 40-minute examination at the end ouf the course. The candidate will prepare a programme of at least 50 minutes' duration from which the examiner will select c. 35 minutes for performance. Programmes containing major works in contrast­ ing styles should be submitted to the Faculty office not later than 31 August. Programme forms are available from the Faculty Office. The programme should include two studies of which the examiners will choose one for playing at the examination.

740-376 MUSIC PERFORMANCE 3 (HONOURS) Students may not enter this course wihout the approval of the Faculty. Students must normally have gained an A in 740-216 Music Performance 2 to enrol in this course. A course in Year 3 throughout the year consisting of individual lessons and group teaching. There will be an additional weekly Master Class of two hours which students are expected to attend, and at which they should perform on request. Works will be prepared from the main music periods from which suitable material on the instrument is available, and which will continue the critical study of inter­ pretation commenced in Music Performance 1 and further developed in Music Performance 2. ASSESSMENT 1. A 50-minute examination at the end of the course. The candidate will prepare a programme of at least 50 minutes' duration from which the examiner will select c. 40 minutes for performance. Programmes containing major works in contrast­ ing styles should be submitted to the Faculty Office not later than 31 August. Programme forms are available from the Faculty Office. The programme should include two studies of which the examiners will choose one for playing at the examination. Of the remaining pieces, at least one is to be played from memory. Examiners may choose parts of pieces in the programme to be performed and may stop candidates during performance. 2. All students enrolled in this subject will attend a Master Class each Friday. It is expected that Honours students will perform regularly in these classes, and there will be a list of dates on the notice-board on which students should enter their names and the works they intend to play. A report on the performance in the Master Classes will be made available to the Dean at the end of the year by the co-ordinator of the subject. Students must give satisfactory performances during each semester, before being permitted to perform at the annual examinations. Reports on student par­ ticipation will be prepared each semester by the co-ordinator.

740-416 MUSIC PERFORMANCE 4 A course in Year 4 throughout the year consisting of individual lessons and group teaching. As for Music Performance 3, the programme will be of prepared works from the main music periods from which suitable material on the instrument is

58 available. However, students will study works that are more advanced and will perform to a more advanced level of sophistication, developing further the insight into interpretation of individual styles and periods acquired in earlier years of the course. ASSESSMENT 1. A 50-minute examination at the end of the course which may be open to the public if the candidate so desires. Candidates will prepare a programme of approximately 40 minutes' duration, including breaks, which will normally be heard in its entirety by examiners. Programmes containing major works in con­ trasting styles should be submitted to the Faculty Office not later than 31 August. Programme forms are available from the Faculty Office. 2. An oral test of 10 minutes' duration on the repertoire and history of the instru­ ment, held at the end of first semester. This test must be passed before a result can be recorded in the subject, but it will not be counted in the result. 740-476 MUSIC PERFORMANCE 4 (HONOURS) Students may not enter this course without approval of the Faculty. Students must normally have gained an A in 740-316 Music Performance 3 or at least H2A in 740-376 Music Performance 3 (Hons) to enrol in this course. With special approval B.Mus.Ed. students who have gained at least Honours 2A in Music Performance 3 (Hons) may undertake this subject as an additional subject. In addition to lessons there will be an additional weekly Master Class of two hours which students are expected to attend, and at which they should perform on request. The works studied will be more advanced and students will perform at a more advanced level than for Music Performance 3 (Hons). They will be expected to demonstrate further insight into interpretation of individual styles and periods acquired in earlier years of the course. ASSESSMENT 1. A 50-minute recital, which may be open to the public, at the end of the course. The 50-minute timing must include breaks. Under special circumstances the Dean may give approval for a recital outside the University at a time other than the November examination period to be taken as the examination. Such approval must be obtained at least one month before the performance is to take place. Programmes containing major works in contrasting styles should be submitted to the Faculty Office not later than 31 August. Candidates will be required to perform at least two works of the programme from memory. Programme forms are avail­ able from the Faculty Office. 2. Before a result can be obtained in the subject, students of instrumental perfor­ mance must perform a concerto with orchestra or a major ensemble work com prising at least three players. Students of vocal performance must perform with orchestra an excerpt of at least 10 minutes from opera or oratorio or a major ensemble work involving at least three players in addition to the voice. In the case of works involving orchestra the Faculty may direct that the perfor­ mance be given with piano accompaniment, if performance with orchestra cannot be arranged. Instrumental students playing a concerto, or vocal students singing arias, must perform from memory. These requirements will not have any weighting in the final result. 3. An oral test of 10 minutes duration on the repertoire and history of the instru- ment held at the end of first semester.

59 4. All students enrolled in the above subject will attend a Master Class each Friday. It is expected that Honours students will perform regularly in these classes, and there will be a list of dates on the notice-board on which students should enter their names and the works they intend to play. A report on the performance in the Master Class will be made available to the Dean at the end of the year by the co-ordinator of the subject. Students must give satisfactory performances during each semester, before being permitted to perform at the annual examinations. Reports on student par­ ticipation will be prepared each semester by the co-ordinator.

740-472 MUSICOLOGY (HONOURS) Students must normally have gained an A in 740-313 Music Language Studies 3 and at least H2A in 740-371 Music History 3A (Hons) to enrol in this subject. The course comprises: (a) The preparation and presentation of a thesis of between 8,000 and 10,000 words in length. Each student will be assigned to a supervisor, and must submit two bound, typewritten copies of the thesis not later than the first day of the assessment period. One copy of the thesis may be deposited in the Library, the other will be returned to the candidate. (b) Attendance at, and participation in, a weekly class on the principles and practice of musical research of one hour's duration in each semester. The class will provide an introduction to the theory and methods of musicology including bibliographical methods, the editing of music, music criticism and music analysis. The class will provide some guidance in the preparation and presentation of the thesis. ASSESSMENT During the year each student will read one class paper of approx. 1,000 words (which will then be delivered to the lecturer) and will lead a class discussion on its subject. In addition one assignment of not more than 2,000 words may be set. The final mark for this course will be determined by the thesis alone, but satisfac­ tory attendance at the weekly class (that is at least 75 per cent attendance), and a pass mark in both the class paper and assignment must be achieved before the result can be recorded.

720-022 PHILOSOPHY OF EDUCATION M MrW. G. S. Smith A weekly seminar of approximately 1 Vz hours throughout the year. SYLLABUS Some philosophical aspects of the following topics will be studied: 1. Concepts of education 2. Education, knowledge and values 3. Moral and religious issues in education 4. Education and indoctrination 5. Aesthetics in music education 6. Current problems in the teaching of music 7. Assessment and education ASSESSMENT Students will be required to present two essays, each of approximately 2,000 words.

60 171-100 PSYCHOLOGY 1 Convenor: Dr N. E. McMurray 3 lectures per week, 2 hours per week of laboratory classes and 1 hour per week of laboratory assignments throughout the year. SYLLABUS The topics covered will include the biological foundations of behaviour, human development, cognition, social psychology, quantitative methods and history and method in psychology. Students intending to major in Psychology should consider including one or more related subjects in their first year programme. Examples of such subjects are Biology. Political Science, Economics, Mathematical Sciences, History and Phi­ losophy of Science, Linguistics and Philosophy. ASSESSMENT Mid-year and end-of-year examinations will be held. The total time spent in examinations across the year will not exceed four hours. A laboratory logbook and not more than two laboratory reports, with neither report exceeding 3,000 words, must be presented, and a satisfactory standard reached in both in order to be eligible for a pass in the subject. In addition, each student must participate in 5 hours of experiments. Exemption on medical or ethical grounds may be granted by the convenor, but in such cases alternative work will be prescribed. Assess­ ment details, including information about examinations, will be published on the departmental notice-board at the beginning of first semester and in the First Year Manual which will be available from the Department. FURTHER COURSE DETAILS Further course details, including information about recommended reading, are available in the First Year Manual which is available from the Department of Psychology at the beginning of semester 1, and will also be published on the departmental notice-board.

171-211 PSYCHOLOGY 2M Convenor: Dr P. E. Pattison A course of an average of one 1 Va hour lecture per week, and one 1 V? hour laboratory session per week throughout the year. SYLLABUS Students will take the following 3 sections (each comprising 12 lectures): Language and cognition Sensation and perception Intergroup relations and group processes Prerequisite: Psychology 1 or its equivalent LANGUAGE AND COGNITION The course will consider selected aspects of cognition in their biological and social context. Topics may include: individual differences in language ability; reading; bilingualism; language disorders; the relation of language and thinking; decision making and problem solving.

SENSATION AND PERCEPTION An introduction to the operation of the sensory system with a particular emphasis on vision. The course will examine the structure of the system, its development, and ways in which it relates a person to his or her environment, and some of its disorders.

61 INTERGROUP RELATIONS AND GROUP PROCESSES Social psychological explanations of behaviour which may include: interaction, communication and influence within groups; group cohesiveness; intergroup rela­ tions; prejudice; stereotyping and discrimination; identity functions of language; crowds, riots and disturbances. ASSESSMENT (a) Examinations in the middle and at the end of each year. No more than 3 hours in total will be allotted to examinations. In order to achieve a pass in the subject, at least a satisfactory level must be recorded in each section taken. (b) No more than three short laboratory reports of no more than 2,000 words each. A satisfactory standard in practical work reports must be achieved in order to gain at least a pass in the subject. Further details, including details of practical work assessment requirements, will be published on the departmental noticeboard at the beginning of semester 1 and in the Second Year Manual which will be avail­ able from the department.

720-046 SCHOOL PRACTICE The subject will consist of: 1. Demonstration lessons, microteaching sessions. 2. Observation of teaching and other school work. 3. Teaching practice in approved schools as arranged by the Faculty, the amount to be determined according to (i) the previous experience, and (ii) the aptitude of the student. ASSESSMENT The student will be assessed (to Pass only) on the basis of performance in prac­ tice in approved schools.

720-044 SOCIOLOGY OF EDUCATION M Approximately 30 hours of lectures and tutorials. SYLLABUS The subject will introduce students to issues about various social processes related to education. Students will be encouraged to select certain aspects of the course for special study. ASSESSMENT Not more than three written assignments.

62 SECTION 5: POSTGRADUATE STUDIES DEGREE OF MASTER OF MUSIC Details of the provisions applicable for the Master of Music course are available from the Assistant Registrar (Music). (See also the University General Principles of Selection for Entry to Postgraduate Courses, in Appendix 1 in this Handbook.) DEGREE OF DOCTOR OF PHILOSOPHY This degree is awarded by the University. For details, see the Calendar, Regula­ tion 3.60.

740-601 MASTER OF MUSIC All candidates are required to complete satisfactorily a major study in Research or Composition or Performance as follows: RESEARCH Candidates seeking to undertake the course in the fields of Musicology, Music Therapy or Music Education may do so subject to the approval of the Faculty of Music in either of the following manners: (i) By thesis of between 30,000-35,000 words (excluding footnotes and appen­ dices) embodying the results of significant research on a topic approved by the Faculty. Any variation to this topic must be approved by the Faculty. OR (ii) By transcription and edition of a substantial body of music together with an editorial commentary and a dissertation of between 10,000-20,000 words on the subject of the music edited. COMPOSITION Candidates seeking to undertake the course in the field of Composition may do so subject to the approval of the Faculty of Music by presentation of: (i) a folio of original compositions using different resources and of varying lengths including at least one composition of a substantial and sustained nature; the folio must be approved by the Faculty. AND (ii) a folio of analyses of a number of major contemporary musical works, details of which have been approved by the Faculty, together with a dissertation of approximately 10,000 words on these works. PERFORMANCE Candidates seeking to undertake the course in the field of Performance may do so subject to the approval of the Faculty of Music and will be required: (i) to give to the satisfaction of the examiners appointed pursuant to Statute 3.12, two public recitals in which major works are performed. One recital should be of normal concert length and the other of approximately 50 minutes duration. The programmes for the two recitals are to be submitted for approv­ al by Faculty not less than six months prior to the anticipated date of the first recital. (No candidate may present a recital in fulfilment of this requirement, until the Faculty has satisfied itself through audition that the candidate is adequately prepared for public performance; this audition will be held not more than three months after approving the recital programmes.) AND (ii) to provide substantial programme notes for each recital at the time of the recital;

63 AND (iii) to write a dissertation of approximately 10,000 words on a subject approved by the Faculty of Music related to their performance area. In addition all candidates will normally be required: (i) to complete satisfactorily during the first year of candidature course work prescribed by the Faculty, after consultation with the candidate. This course of study may include subjects offered in another Faculty of the University, where these subjects are related to the topic of the major study being under­ taken for the degree AND (ii) to take part in a programme of postgraduate seminars organized by the Facul­ ty. The postgraduate seminars will be held in both semesters of the academic year. All students, whether full-time or part-time, must attend and participate in at least 75% of the seminars in the first year of their candidature (iii) to present a lecture or lecture-recital of not more than 50 minutes in duration, to the satisfaction of assessors appointed by the Faculty.

64 SECTION 6: EXHIBITIONS, SCHOLARSHIPS, PRIZES AND FINANCIAL ASSISTANCE The following table gives a summary of awards available to Faculty of Music students. More detailed information regarding these awards can be obtained from the University Calendar (Chapter 6 of the Regulations or 'Announcements' Section) when applicable or from the Assistant Registrar (Music). TABLE 1 - AWARDS AVAILABLE TO MUSIC STUDENTS [Unless otherwise indicated, these scholarships are allocated by the Faculty on the basis of examination results in the previous year. Their monetary value varies from year to year].

CALENDAR NAME ELIGIBLE REFERENCE OR INFORMATION SOURCE Mona McCaughey Scholarships: (a) Mona McCaughey vocal studies 6.127 Scholarship* students (b) Elise Wiedermann vocal studies 6.127 Scholarship* students (c) Una Bourne pianoforte 6.127 Scholarship* students Walter Kirby Singing vocal studies 6.59 Scholarship students C. D. Hume Violin Scholarship* violin students 6.78 T. Allan McKay full course or single 6.82 Pianoforte study students of Scholarship pianoforte Muriel Cheek full course or single 6.81 Memorial Scholarship study students of singing Allan Scholarship full course students of 6.158 piano. Preference to students whose permanent home is within a 50-mile radius of Horsham Eric and Linda Jullyan full course students entering 6.136 Memorial Scholarship third or fourth year who show promise worthy of development M. and E. Kefford full course or single study 6.119 Scholarship* students who are children of British subjects by birth Alberto Zelman full course or single study 6.141 Violin Scholarship students of violin Clarice Malyon Middleton any female student of 6.72 (65) Scholarship singing

* Awarded on the basis of financial needs rather than academic results.

65 CALENDAR NAME ELIGIBLE REFERENCE OR INFORMATION SOURCE Florence Bradford students of the Assistant Scholarships Faculty Registrar (Music) F. W. Homewood students of pianoforte who 6.56 Memorial Scholarship are graduates of not more than five years' standing Doris F. Chandler piano students who have 6.72 (91) Memorial Bursary completed 4th year and have a proposal for further studies Grace Funston undergraduate or graduate 6.72 (92) Scholarship*' student under 25 years of age Ormond Exhibitions (4) students of the Faculty, 6.10 and Ormond Scholarship for overall excellence in all areas of the course Music Lovers students of Ihe Assistant Society Bursary Faculty Registrar (Music) Herbert Davis full course students of organ Assistant Award in first or second year Registrar (Music) The Wright Prize second year students 6.15 The Maude Harrington students of the Faculty; 6.72 (35) Prize (books) for pianoforte accompaniment Rosemary Kenny pianoforte students entering 6.72 (24) Prize final year of degree course Florence Menk Meyer pianoforte students entering Assistant Prize final year of B.Mus. course Registrar (Music) Bertha Jorgensen students of violin in third 6.72 (79) Exhibition or fourth year of degree course (non-renewable) Allans Award pianoforte students in the 6.72 (79) (music scores) fourth year of the degree course Peg Oldfield string players in the fourth 6.72 (87) Prize year of the degree course Ivy May Pendlebury Anglican students of Assistant Bursaries' the Faculty Registrar (Music) Schubert Bursary* all students of the Faculty 6.72 (36) Catherine Grace McWilliam students in fourth year of 7.125 Prize the degree course Faculty Entrance Assistant Exhibition Registrar (Music) Lady Turner first year students 6.72 (17) Prizes (2) (books)

• Awarded on ihe basis of financial needs rather than academic results. *• Financial needs as well as academic results are taken into account

66 CALENDAR NAME ELIGIBLE REFERENCE OR INFORMATION SOURCE Lady Turner all students of the Faculty; 6.133 Exhibitions (5) for overall excellence in all areas of the course Nellie Melba Prize second year students Assistant Registrar (Music) Bergstrand Prize third year students in Assistant the B.Mus.Ed. degree Registrar (Music) William Bardsley Award* students of violin 6.72A(5)

TABLE II - TRAVELLING SCHOLARSHIPS [Applications should be made following publication of a notice ]

NAME ELIGIBLE AWARDED Welsford Smithers music graduates wishing from time to time Travelling to continue their studies Refer R.6.153 Scholarship overseas Nickson holder of a degree or diploma not more often than Travelling in music from any every two years Scholarship Victorian university who is Refer R.6.140 under 30 years of age Lizette Bentwitch graduates in Music in biennal periods alternating Scholarship or Arts with the Faculty of Arts Refer R.6.98

* Awarded on ihe basis oJ financial needs rather than academic results. " Financial needs as well as academic results are taken into account.

67 SECTION 7: BOOKLISTS Hereunder are listed the books, scores and other publications set or recommend­ ed for the various subjects. The arrangement of subjects follows that of the Details of Subjects section, i.e. alphabetical order within the two categories. Subjects first available in 1989' and Subjects existing prior to 1989'. Only those subjects and units for which booklists have been supplied are listed below. The Faculty notice-boards should be consulted at the beginning of the academic year for any changes to the booklists. In these booklists the symbol (PR) indicates that a publication is essential pre­ liminary reading. An asterisk at the beginning of an entry indicates that the publication is an essen­ tial text or reference and should be in the possession of students. SUBJECTS FIRST AVAILABLE IN 1989

740-108 AURAL TRAINING 1 "Benward B Workbook in Ear Training 2nd ed Wm. C. Brown Co. "Kodaly Z 333 Reading Exercises 1972 Boosey & Hawkes

740-108 MUSIC HISTORY 1-1 and 740-119 MUSIC HISTORY 1-2 [These subjects replace 740-111 Music History 1A which, from 1989, will no longer be offered.] Abraham G ed The New Oxford History of Music OUP Austin W Music in the Twentieth Century 1966 Norton Brindle R S The New Music 1975 OUP Brown H M Music in the Renaissance 1976 Prentice-Hall Cattin G Music of the Middle Ages Vol. 7 1984 Cambridge Cooke D The Language of Music 1962 OUP Davison A and Apel W eds Historical Anthology of Western Music 2 vols 1949- 1950 Harvard UP Gallo F A Music of the Middle Ages Vol. 2 1985 Cambridge Griffiths PA Concise History of Modern Music 1978 Thames & Hudson Griffiths P Modern Music: The Avant-Garde since 1945 1981 Dent Grout D J A Short History of Opera 2nd ed 1965 Columbia UP "Grout D J A History of Western Music 3rd ed 1981 Dent Hoppin R H Medieval Music 1978 Norton Longyear R Nineteenth Century Romanticism in Music 1969 Prentice-Hall 'Palisca C V ed Norton Anthology of Western Music: Vol. i Mediaeval, Renais­ sance, Baroque: Vol. ii Classic, Romantic, Modern 1980 Norton Palisca C V Baroque Music 2nd ed 1981 Prentice-Hall Pauly R G Music in the Classic Period 2nd ed 1973 Prentice-Hall Perle G Serial Composition and Atonaiity 5th ed 1981 UCLA Press Platinga L Romantic Music 1984 Norton Reese G Music in the Renaissance 1954 Dent Rosen C The Classical Style 1973 Faber Salzman E Twentieth Century Music: An Introduction 1967 Prentice-Hall Seay A Music in the Medieval World 1975 Prentice-Hall Strunk O ed Source Readings in Music History Norton Tovey D F Essays in Musical Analysis, Vols 1 -6 OUP Whittall A Music since the First World War 1977 Dent

68 PRESCRIBED SCORES "Bach Sf Matthew Passion Eulenberg 'Bartok Concerto for Orchestra "Beethoven Symphony No. 5 in C minor Eulenberg "Josquin Missa Pange Lingua Kalmus Study Score

740-128 MUSIC TECHNIQUES 1-1 "Bach J S 35? Harmonized Chorales and 69 Choral Melodies ed Albert Riemen- schneider 1941 Schirmer Ottman W Elementary Harmony 3rd ed 1983 Prentice-Hall Piston W Harmony 4th ed 1977 Norton Reynolds W and Warf ield G Common-Practice Harmony 1985 Longman Spencer P The Practice of Harmony 1983 Prentice-Hall Winold A Harmony: Patterns and Principles 1986 Prentice-Hall

740-129 MUSIC TECHNIQUES 1-2 Boyd M Bach's Instrumental Counterpoint 1967 Barrie & Rockliff Keller H Thoroughbass Method 1965 Norton Kennan K Counterpoint 3rd ed 1977 Prentice-Hall PRESCRIBED SCORE "Bach J S 15 2-part Inventions SUBJECTS EXISTING PRIOR TO 1989 Note: (a) Individual language studies will be found grouped under MODERN LANGUAGE STUDIES. (b) Under the heading MUSIC HISTORY STUDIES will be found the fol­ lowing subjects: Music History 2A (Classical and Romantic Music) Music History 3A (Twentieth Century Music) Music History 4A (Early Music) Music History 4B (Ancient, Mediaeval and Early Renaissance Music). B.MUS. AND B.MUS.ED. COURSES

740-112 ACOUSTICS 'Backus J The Acoustical Foundations of Music 2nd ed Norton or "Rossing T D The Science of Sound 1st ed Addison Wesley Roederer J G Introduction to the Physics and Psychophysics of Music 2nd ed Springer Verlag Fletcher N Physics and Music Heinemann Educ Aus Hutchins C M The Physics of Music Scientific American

740-202 AURAL TRAINING 2 "Kodaly Z Fifteen Two-Part Exercises 1952 Boosey & Hawkes 'Leganyne Hegyi Erzsebet Collections of Bach Examples Vol. 1 1971 Editio Musica Budapest

740-432 CLINICAL PRACTICE IN MUSIC THERAPY Adams G Essentials of Geriatric Medicine 1977 Oxford Med Pub OUP Bleck and Nagel Physically Handicapped Children — A Medical Atlas for Teachers 1975 Grune & Stratton

69 "Butler R N and Lewis M I Aging and Mental Health 3rd ed 1982 Mosby London 'Davies B Introduction to Clinical Psychiatry 1968 MUP 'Drillien and Drummond Neurodevelopmental Problems in Early Childhood 'Ford B The Elderly Australian 1979 Penguin Greenberg S F & Valletutti P J Stress and the Helping Professions 1980 Paul H. Brookes Baltimore Holle B Motor Development in Children — Normal and Retarded 1976 Blackwell Scientific Publications Holt K S Developmental Paediatrics 1977 Butterworths lllingworth R The Normal Child 7th ed 1979 Churchill Livingstone 'Judge C Retarded Australians 1975 MUP Kubler-Ross E On Death and Dying 1969 McMillan Mace N L & Rabins P V The 36-Hour Day 1981 Johns Hopkins Press Baltimore Miller B F and Keane C B Encyclopaedia and Dictionary of Medicine and Nursing 1972 Saunders Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-Music Baton Sainsbury M J Key to Psychiatry 1973 Aust & NZ Book Co Wolfenberger W Normalization 1972 Nat Inst of Mental Retardation Toronto Yalom The Theory and Practice of Psychotherapy

740-214 COMPOSITION — SMALL ENSEMBLES Boretz and Cone Perspectives on Contemporary Music Theory 1972 W H Norton Boulez P Boulez on Music Today 1971 Faber & Faber Brindle R S Serial Composition 1966 OUP Cage J Silence 1961 Wesleyan UP Cope D New Music Composition 1977 Schirmer PERIODICALS Perspectives of New Music Princeton Journal of Music Theory Yale

740-314 COMPOSITION — ELECTRONIC MUSIC and 740-374 COMPOSITION — ELECTRONIC MUSIC (HONOURS) The following books are in addition to the books recommended for Composition — Small Ensembles: Howe H S Electronic Music Synthesis 1975 W W Norton Strange A Electronic Music, Systems, Techniques, Controls 1971 W Brown Iowa

740-414 COMPOSITION — INSTRUMENTAL AND VOCAL and 740-474 COMPOSITION — INSTRUMENTAL AND VOCAL (HONOURS) The following books are in addition to the books recommended for Composition — Small Ensembles and for Composition — Electronic Music: Matthews M Trie Technology of Computer Music 1969 MIT Press Cambridge Xenakis I Formalised Music 1971 Indiana UP PERIODICALS Source, Davis Computer Music Journal, California

70 720-045 CURRICULUM STUDIES Besson Tartaranus and Forcucci Teaching Music in Today's Secondary Schools 1974 Hall Rinehart & Winston Hotter C R Teaching Music in the Secondary Schools 2nd ed 1973 Wadsworth Calif Thomas R B ed Manhattanville Music Curriculum Programme Synthesis 1970 Media Inc NY Paynter J and Aston P Sound and Silence 1970 CUP Lond Regelski T A Principles and Problems of Music Education 1975 Prentice-Hall Reimer B A Philosophy of Music Education 1970 Prentice-Hall NJ Bontinck I ed New Patterns of Music Behaviour 1974 Universal Vienna Dennis B Experimental Music in Schools 1970 OUP Lond Dwyer T Progressive Scores 1971 OUP Lond Paynter J Hear and Now 1972 Universal Lond Paynter J Music in the Secondary School Curriculum 1982 CUP Salaman S Living School Music 1983 CUP Schafer R M Ear Cleaning 1967 BMI Canada Schafer R M The Composer in the Classroom 1965 BMI Canada Schafer R M When Words Sing 1970 BMI Canada Self G Aural Adventure 1969 Novello Lond Self G New Sounds in Class 1967 Universal Lond Swanick K A Basis for Music Education 1979 NFER Publishing Swanick K and Taylor D Discovering Music 1982 Batsford Academic Taylor D Music Now 1979 Open University Press Vulliamy G and Lee E Popular Music: a teacher's guide 1982 Routledge & Kegan Paul Vulliamy G and Lee E Pop Rock and Ethnic Music in School 1982 CUP

740-433 CURRICULUM STUDIES IN MUSIC THERAPY Bailey P They Can Make Music 1973 OUP Bitcon C Alike and Different 1976 Rosha Press Bonny H and Savary L Music and Your Mind 1973 Harper & Row Bright R Music in Geriatric Care 1980 Musicgraphics Bright R Practical Planning in Music Therapy for the Aged 1981 Musicgraphics Bruscia K E Improvisational Models of Music Therapy Chas Thomas Springfield Burnside I ed Working with the Elderly; Group Process and Techniques 1976 Duxbury Press Clark C and Chadwick D Clinically Adapted Instruments for the Multiple Handi­ capped 1980 Magna-music Baton Dass R & Gorman P How can I help? 1985 Alfred Knofp NY Dobbs J The Slow Learner and Music 1972 OUP Dustin R and George R Action Counselling for Behavioural Change 2nd ed 1977 Caroll Press Eagle C T ed Music Therapy Index vol 1 1976 Nat Assoc Mus Therapy Eagle C T ed Music Psychology Index vol 2 1978 Inst For Therapeutics Research Eagle C T ed Music Psychology Index vol 3 1980 Oryx Press Egan G The Skilled Helper 3rd ed 1986 Brooks Cole Gelineau P Songs in Action 1974 McGraw-Hill Ginglend and Stiles Music Activities for Retarded Children 1965 Abingdon NY Ginglend and Carlson Play Activities for the Retarded Child 1961 Cassell Graham R M and Beer A S Teaching Music to the Exceptional Child 1980 Prentice-Hall Gray V and Percival R Music, Movement and Mime for Handicapped Children 1962 OUP Laban R Mastery of Movement 1966 2nd ed McDonald & Evans Nordoff P and Robbins C Children's Songs vols 1 -5 Theodore Presser

71 Nordoff P and Robbins C Creative Music Therapy 1977 John Day Nowicki and Trevisan Beyond the Sound: A Technical and Philosophical Approach to Music Therapy 1977 Magna-music Baton Orff G The Odf Music Therapy 1974 Schott •Plach T The Creative Use of Music in Group Therapy Chas Thomas Springfield Purvis J and Samet S Developmental Music Therapy 1976 University Park Press Robbins C and C Music for the Hearing Impaired and Other Special Groups 1980 Magna-music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories Magna- music Baton Schulberg C The Music Therapy Sourcebook 1981 Human Sciences Press NY Sherrill C Creative Arts for The Severely Handicapped 1979 Chas Thomas Ward D Hearts and Hands and Voices 1976 OUP Ward D Sing a Rainbow 1979 OUP PERIODICALS Journal, National Assoc'n for Music Therapy Washington US Journal, American Association for Music Therapy 1981 Springfield NJ Journal, British Society for Music Therapy UK Bulletin, Aust Music Therapy Assoc'n Proceedings, Annual Conferences, Aust Music Therapy Assoc's 1975-

720-933 EDUCATIONAL PSYCHOLOGY M 'Biggs J B and Telfer R The Process of Learning 2nd ed 1987 Prentice-Hall 'Mussen P H et al Child Development and Personality 6th ed 1984 Harper & Row

740-412 ELECTIVES

CHURCH MUSIC IN ENGLAND Benham H Latin Church Music in England 1460-1575 1977 Barrie & Jenkins Dearnley C English Church Music 1650-1750 1970 Barrie & Jenkins Dennison P Pelham Humfrey 1986 OUP Fellowes E H English Cathedral Music 5th ed 1969 rev by J A Westrup Methuen Gatens W Victorian Cathedral Music 1986 CUP Le Huray P Music and the Reformation in England 1967 Jenkins Long K The Music of the English Church 1972 Hodder & Stoughton 'Morris C (compiler) Anthems for Choirs 4 1976 OUP 'Morris C (compiler) The Oxford Book of Tudor Anthems 1978 OUP 'The Treasury of English Church Music Vols 2-5 1965 Blandford

THE 1890s Check with lecturer

THE IBERIAN RENAISSANCE Atlas A Music of the Aragonese Court of Naples 1985 CUP Chase G The Music of Spain 1959 Norton Kastner M S The Interpretation of 16th and 17th Century Iberian Keyboard Music 1986 Pendragon Livermore A A Short History of Spanish Music 1972 Duckworth Stevenson R Music in the Age of Columbus 1960 Nijhoff Stevenson R Spanish Cathedral Music of the Golden Age 1961 Calif UP

MUSICAL ANALYSIS A and B Bent I Analysis 1986 Macmillan Cook N A Guide to Music Analysis 1987 Dent Dunsby J and Whittall A Music Analysis in Theory and Practice 1987 Faber Epstein D Beyond Orpheus 1979 MIT Press

72 Forte A The Structure of Atonal Music 1973 Yale Forte A and Gilbert S Introduction to Schenkerian Analysis 1982 Norton Jonas O Introduction to the Theory of Heinrich Schenker 1982 Longman Kalib S 'Thirteen Essays from the Three Yearbooks Das Meisterwerk in der Musik by Heinrich Schenker: An annotated translation' (PhD dissertation) 1973 UMI Meyer L Explaining Music 1973 Chicago Nattiez J-J Fondements d'une semiologie de la musique 1975 Union generale d'editions Narmour E Beyond Schenkerism 1977 Chicago Reti R The Thematic Process in Music 1961 Faber Rahn J Basic Atonal Theory 1980 Longman Ruwet N Langage, musique, poesie 1972 Seuil Salzer F Structural Hearing 1962 Dover Schenker H Five Graphic Music Analyses 1969 Dover Schenker H Free Composition 1979 Longman Schoenberg A Fundamentals of Music Composition 1967 Faber Schoenberg A Style and Idea 1975 Faber Walker A A Study in Musical Analysis 1962 Barrie & Rockliff PERIODICALS The Music Forum Vols 1 -5 Music Analysis A Departmental Reading Guide with additional references will be issued.

MUSIC IN AUSTRALIA SCORES AND READINGS Sculthorpe Sun Music Series Meale Homage to Garcia Lorca Meale String Quartet Grainger Colonial Song, The Warriors Antill Corroboree Werder Quartet VI Conyngham Southern Cross Howard Temple of the Golden Pavilion Plush Folk Songs

MUSIC OF BEETHOVEN Check with lecturer

MUSIC OUTSIDE THE WESTERN TRADITION Check with lecturers

RENAISSANCE INSTRUMENTAL MUSIC Apel W The History of Keyboard Music to 1700 1972 Indiana UP Brown H M Music in the Renaissance 1976 Prentice-Hall Brown H M Instrumental Music printed before 1600 1967 Harvard UP Jacquot J ed Le luth et sa musique 1976 CNRS

THE SYMPHONY IN THE NINETEENTH CENTURY Check with lecturer

THE OPERATIC TRADITION Harewood Earl of ed Kobbe's Complete Opera Book 1976 Putnam Hogarth G Memoirs of the Opera in Italy, France, Germany and England 2 vols 1972 Da Capo Hughes S Famous Verdi Operas 1968 Robert Hale

73 Launay D La querelle des Bouffons, torn 1-3 1973 Minkoff Leibowitz R Les fantomes de I'opera 1972 Gallimard Loewenberg A Annals of Opera, 1597-1940 1955 Societas Bibliographica Mann W The Operas of Mozart 1977 Cassell Orrey L A Concise History of Opera 1972 Thames & Hudson Robinson M Naples and Neapolitan Opera 1972 Clarendon Press Robinson M Opera before Mozart 1966 Hutchinson Uni Library Volbach W R The Problem of Opera Production 1977 Archon Books Wellesz E Essays on Opera 1950 Denis Dobson SCORES Bellini / Puritani Bizet The Pearl Fishers Britten Billy Budd Cavalli Ormindo Handel Serse Meyerbeer Les Huguenots Mozart Idomeneo Mozart Die Zaubedlote Mussorgsky Boris Godunov Offenbach Orpheus in the Underworld Rossini The Barber of Seville Rameau Hyppolyte et Aricie Schoenberg Moses und Aron Stravinsky The Rake's Progress Strauss R Ariadne auf Naxos Strauss R Der Rosenkavalier Tippett King Priam Verdi Rigoletto Verdi Falstaff Wagner Parsifal

760-005 HUMAN GROWTH & DEVELOPMENT As per ARTS Handbook

740-332 INTRODUCTION TO MUSIC THERAPY 'Gaston E Thayer ed Music in Therapy 1968 Macmillan 'Hargreaves D J The Developmental Psychology of Music CUP 'Judge C Retarded Australians 1975 MUP Alvin J Music for the Handicapped Child 1965 OUP Alvin J Music Therapy for the Autistic Child 1978 OUP Alvin J Music Therapy 1974 2nd ed Basic Books NY Benenzon R Music Therapy Manual 1981 Chas Thomas Benenzon R Music Therapy in Child Psychosis 1982 Chas Thomas Bright R Music in Geriatric Care 1980 Musicgraphics Bright R Grieving: A Handbook for those who care 1986 MMB Music Inc USA Critchey Mac and Henson eds Music and the Brain Studies in the Neurology of Music 1977 Heinemann London Davies J B Psychology of Music 1978 Hutchinson Farnham-Diggory Learning Disabilities 1978 Fontana Ford B The Elderly Australian 1979 Penguin Graham R M ed Music for the Exceptional Child 1975 Mus Ed Nat Conf Kenny C The Mythic Artery 1982 Ridgeview Pub USA Kubler-Ross E On Death and Dying 1969 Macmillan Madsen C Music Therapy: A Behavioural Guide for the Mentally Retarded 1981 Magna-music Baton Maslow A H Toward a Psychology of Being 2nd ed Van Nostrand Reinhold NY

74 Meyer L Emotion and Meaning in Music 1958 Univ of Chicago P Michel D Music Therapy 2nd ed 1985 Chas Thomas Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-music Baton Nordoff & Robbins Creative Music Therapy 1977 John Day Nordoff & Robbins Music Therapy in Special Education 2nd ed 1983 Magna- music Baton Priestly M Music Therapy in Action 1975 Constable Radocy and Boyle Psychological Foundations of Musical Behaviour 1979 Thomas Robinson and Robinson The Mentally Retarded Child: A Psychological Approach 1965 McGraw-Hill Robbins C and C Music for the Hearing Impaired and Other Special Groups 1980 Magna-music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories 1980 Magna-music Baton Safilios-Rothschild C The Sociology and Social Psychology of Disability and Re­ habilitation 1970 Random House NY Sainsbury M J Key to Psychiatry 1980 3rd ed Aust & NZ Book Co Tyson C Psychiatric Music Therapy 1982 Magna-music Baton

740-339 INTRODUCTION TO TEACHING Dennis B Experimental Music in Schools OUP Marsh M V Explore and Discover Music Macmillan Paynter J and Aston P Sound and Silence OUP Paynter J Hear and Now OUP Reimer B A Philosophy of Music Education 1970 Prentice-Hall Schafer M The New SoundScape, Ear Cleaning, The Composer in the Classroom BMI Canada Schafer M When Words Sing Berandol Canada Schafer M The Rhinoceros in the Classroom 1975 Universal No 26922 Schafer M ed The Music of the Environment 1973 Universal No 26751 Self G New Sounds in Class Aural Adventure Universal Swanwick K A Basis for Musical Education 1979 NFER London

740-141 MODERN LANGUAGES — FRENCH and 740-142 MODERN LANGUAGES — ITALIAN and 740-143 MODERN LANGUAGES — GERMAN None prescribed

MUSIC HISTORY STUDIES Apart from the prescribed and recommended books and scores listed under the individual subjects, all students will need to consult the following throughout their course: "Apel W Harvard Dictionary of Music 2nd ed 1970 Heinemann Sadie S ed The New Grove Dictionary of Music and Musicians 1980 Macmillan Before beginning any of the following Music History courses students should read: "Kerman J Listen 3rd ed 1980 Worth

Westrup J A An Introduction to Musical History 2nd ed 1973 Hutchinson

740-111 MUSIC HISTORY 1A [This course is no longer offered — see Music History 1-1 and Music History 1 -2 in section 'Subjects first available in ig89'

75 740-211 MUSIC HISTORY 2A (PASS) CLASSICAL AND ROMANTIC MUSIC BOOKS Abraham G The New Oxford History of Music viii: The Age of Beethoven 1790- 1830 1982 OUP Abraham G The Concise Oxford History of Music 1979 OUP Andrews H K The Oxford Harmony Vol 2 1950 OUP Arnold D and Fortune N The Beethoven Companion 1973 Faber Budden J The Operas of Verdi Vol 3 1981 OUP Burbidge P and Sutton R The Wagner Companion 1979 Faber Cooke D The Language of Music 1962 OUP Dahlhaus C Richard Wagner's Music Dramas 1979 OUP Davison A and Apel W Historical Anthology of Music Vol 2 1950 Harvard Deane B Cherubini 1965 OUP Del Mar N Richard Strauss: A Critical Commentary on His Life and Works 3 vols 1962-1972 Barrie and Rockliff Donington R Wagner's "Ring" and its Symbols 3rd ed 1974 Faber Drummond J D Opera in Perspective 1980 Dent Forbes E ed Thayer's "Life of Beethoven" 1 vol 1970 Princeton UP Geiringer K Brahms: His Life and Work 2nd ed 1948 Allen & Unwin Grout D J A History of Western Music rev ed 1973 Dent Grout D J A Short History of Opera 2nd ed 1965 Columbia UP Howard P C. W. von Gluck 'Odeo' 1981 CUP Hutchings A A Companion to Mozart's Piano Concertos 1950 OUP John N ed Fidelio ENO Guide 4 1980 Calder John N ed The Marriage of Figaro ENO Guide 17 1983 Calder John N ed Ofe//o ENO Guide 7 1981 Calder John N ed Tristan und Isolde ENO Guide 6 1981 Calder John N ed Die Walkure ENO Guide 21 1984 Calder Kennedy M Mahler 1974 Dent Kennedy M Portrait of Elgar 1982 2nd ed OUP Kerman J Opera as Drama 1958 Vintage Landon H C Robbins Haydn: Chronicle and Works 5 vols 1976-1980 Thames & Hudson Landon H C Robbins and Mitchell D The Mozart Companion 1956 Barrie & Rockliff Lockspeiser E Debussy 2nd ed 1963 Dent Longyear R M Nineteenth Century Romanticism in Music 1969 Prentice-Hall Macdonald H Berlioz 1982 Dent Millington B Wagner 1984 Dent Moore J N Edward Elgar a Creative Life 1984 OUP Musgrave M The Music of Brahms Newman E Wagner Nights 1977 Picador Nichols R Debussy 1973 OUP Osborne C The Complete Operas of Mozart Atheneum NY Osborne C The Complete Operas of Verdi 1969 Da Capo Palmer C Impressionism in Music 1973 Hutchinson Pauly R G Music in the Classic Period 2nd ed 1973 Prentice-Hall Plantinga L Romantic Music 1984 Norton Primmer B The Berlioz Style 1973 OUP Rosen C The Classical Style 1973 Faber Rosen C Schoenberg 1975 Fontana Rushton J Classical Music 1986 Thames & Hudson Solomon M Beethoven 1980 Granada Strunk O ed Source Readings in Music History: iv. The Classic Era 1965 Norton Strunk O ed Source Readings in Music History: v, The Romantic Era 1965 Norton Tovey D F Essays in Musical Analysis Vols 1 -6 OUP Walker A ed Franz Liszt: The Man and His Music 1970 Barrie & Jenkins

76 Walker A ed Robert Schumann: The Man and His Music 1972 Barrie & Jenkins Watson D Bruckner 1975 Dent Wellesz E and Sternfeld F The New Oxford History of Music: vii, The Age of Enlightenment 1745-1790 1 973 OUP Whittall A Romantic Music 1986 Thames & Hudson PRESCRIBED SCORES "Beethoven Symphony no 3 in E flat, the Eroica Eulenburg or Dover 'Beethoven Symphony no 9 in D minor 'The Choral' Eulenburg, Philarmonia or Dover "Berlioz Symphony Romeo et Juliette Eulenburg "Brahms Symphony no 3 in F Eulenburg or Dover "Debussy La Mer Durand Eulenburg or Dover 'Elgar Symphony no 2 in E flat Novello Gluck Odeo Barenreiter vocal score "Haydn Symphony no 102 in B flat Eulenburg "Liszt Piano Sonata in B minor Kalmus 'Mahler Symphony No 5 in C Sharp Minor Kalmus "Mozart TAie Marriage of Figaro Eulenburg Kalmus or Dover 'Mozart Piano Concerto in C K467 Kalmus or Dover 'Schubert Wanderer Fantasy for Piano D760 Lea or Kalmus 'Schumann Symphony No 3 in E flat; the Rhenish Eulenberg or Dover 'Strauss Ein Heldenleben Eulenberg or Dover Verdi Otello International 'Wagner Tristan und Isolde Dover

740-271 MUSIC HISTORY 2A (HONOURS) CLASSICAL AND ROMANTIC MUSIC BOOKS (As for 740-211 Classical and Romantic Music (Pass)) PRESCRIBED SCORES (In addition to those prescribed for Classical and Romantic Music (Pass)) 'Beethoven Fidelio Eulenburg 'Berlioz Les Troyens Eulenburg 'Bruckner Symphony no 7 in E Eulenburg 'Elgar The Dream of Gerohtius Novello 'Haydn Mass in D minor "The Nelson" Eulenburg "Wagner Die Walkure Dover 740-311 MUSIC HISTORY 3A (PASS) TWENTIETH CENTURY MUSIC Antokoletz E The Music of Beta Bartdk-1984 Univ of Calif Appleton J H The Development and Practice of Electronic Music 1975 Prentice- Hall "Austin W Music in the Twentieth Century 1966 Norton Bernard J The Music of Edgard Varese 1987 Yale UP Brindle R S The New Music 1975 OUP Cope D New Directions in Music 1971 Brown Cott J Stockhausen 1973 Simon & Schuster Evans P The Music of Benjamin Britten 1979 Dent 'Griffiths P A Concise History of Modern Music 1978 Thames & Hudson Griffiths P Peter Maxwell Davies 1982 Robson 'Griffiths P Modern Music: the Avant Garde since 1945 1981 Dent Griffiths P Gyorgy Ligeti 1983 Robson Griffiths P Olivier Messiaen 1985 Faber Hall M Harrison Birtwistle 1984 Robson

77 Howe H Electronic Music Synthesis 1975 Norton Jarman D The Music ofAlban Berg 1979 Faber Johnston R S Messiaen 1975 Dent Kemp I Tippett: the composer and his music 1984 Eulenberg Kolneder A Anton Webern 1968 Faber Leibowitz R Schoenberg and his School 1970 Da Capo Lockspeiser E Debussy 1951 Dent Lockspeiser E Debussy: his life and mind 2 vols 1962 1965 Cassell Maconie R The Works of Karlheinz Stockhausen 1976 OUP Matossian N Xenakis 1986 Kahn & Averill Moldenhauer H Anton Webern 1978 Knopf Neumeyer D The Music of Paul Hindemith 1986 Yale UP The New Grove Modern Masters: Bartok, Stravinsky, Hindemith 1984 Macmillan Orenstein A Ravel: Man and Musician 1975 Columbia UP Palmer C Impressionism in Music 1973 Hutchinson Perle G Serial Composition and Atonaiity 5th ed 1981 UCLA Press Peyser J The New Music 1970 Decolorte Press Russcol H The Liberation of Sound 1972 Prentice-Hall Salzman E Twentieth Century Music: An Introduction 1967 Prentice-Hall Schiff D The Music of Elliott Carter 1983 Eulenberg Schorske C Fin-de-siecle Vienna 1979 CUP Simms B Music of the Twentieth Century 1986 Schirmer Stevens H The Life and Music of Beta Bartok 1964 OUP Stuckenschmidt H Arnold Schoenberg 1977 Calder Van den Toorn The Music of Igor Stravinsky Yale UP Vlad R Stravinsky 1960 OUP White E W Stravinsky: The Composer and his Works 1966 Faber 'Whittall A Music Since the First World War 1977 Dent Whittall A The Music of Britten and Tippett 1982 CUP Worner K Stockhausen — Life and Work 1973 Faber Supplementary Reading Lists will be provided. PRESCRIBED SCORES 'Bartok Music for Strings, Percussion and Celesta *Berg Wozzeck 'Berio Sinfonia "Boulez Le Marteau sans Maitre 'Cage Music of Changes 'Ives Three Places in New England 'Schoenberg Pierrot lunaire, Op. 21 "Stockhausen Kontakte "Stravinsky The Rite of Spring "Webern String Quartet, Op. 28 "Xenakis Pithoprakta

ADDITIONAL SCORES FOR STUDY Bartok Fourteen Bagatelles Op 6 Berg Lyric Suite Birtwistle The Fields of Sorrow Boulez Stnjctures la Britten Pefer Grimes Carter String Quartet No 2 Debussy Preludes Books 1 and 2 Feldman The King of Denmark Ligeti Atmospheres Maxwell Davies Ave Maris Stella Messiaen Quartet for the End of Time Penderecki S( Luke Passion

78 Prokofiev Symphony No 5 Reich Tehillim Schoenberg Three Piano Pieces Op 11 Stockhausen Gruppen Strauss Elektra Stravinsky Symphony of Psalms Tippett Symphony No 3 Varese lonisation

740-371 MUSIC HISTORY 3A (HONOURS) TWENTIETH CENTURY MUSIC In addition to those prescribed for the Pass course: Adorno T W Philosophy of Modern Music 1973 Sheed & Ward Bartdk B Beta Bartdk Essays 1976 St Martin's Press Boulez P Boulez on Music Today 1971 OUP Carter E The Writings of Elliott Carter 1977 Indiana UP Dahlhaus C Foundations of Music History 1983 CUP Debussy Ives Busoni Three Classics in the Aesthetics of Music 1962 Dover Hindemith PA Composer's World 1952 Harvard UP Meyer L Music, The Arts and Ideas 1967 Chicago Mitchell D The Language of Modern Music 1976 Faber Poggioli R The Theory of Avant Garde 1973 Harvard Rissatti New Music Vocabulary 1975 Illinois UP Schoenberg A Style and Idea 1975 Faber Webern A The Path to the New Music 1963 Universal and Theodore Presser PERIODICALS Die Reihe Journal of Music Theory Music Analysis Perspectives of New Music Source

740-411 MUSIC HISTORY 4A (PASS) and 740-471 MUSIC HISTORY 4A (HONOURS)

EARLY MUSIC Apel W Gregorian Chant 1958 Burnes-Oates Apel W The Notation of Polyphonic Music 900-1600 1953 The Medieval Academy of America Aubry P Trouveres and Troubadors 1969 Cooper Square Bent M Dunstable 1981 OUP 'Brown H M Music in the Renaissance 1976 Prentice-Hall Brown H M Embellishing 16th Century Music 1976 OUP Brown H M Music in the French Secular Theatre 1400-1550 1963 Harvard UP Bukofzer M Studies in Medieval and Renaissance Music 1951 Dent Caldwell J Editing Early Music 1985 Clarendon Caldwell J Medieval Music 1976 Hutchinson Cattin G Music of the Middle Ages 1 1984 Cambridge Dronke P The Medieval Lyric 1968 Hutchinson Fallows D Dufay 1982 Dent Gallo F A Music of the Middle Ages I11985 Cambridge Grout D J A History of Western Music 1973 Dent Hamm C A Chronology of the Works of Guillaume Dufay 1964 Princeton UP Harrison F L Music in Medieval Britain 1958 Routledge & Kegan Paul

79 'Hoppin R H Medieval Music 1978 Norton Hughes A Medieval Music: The Sixth Liberal Art rev ed 1980 Benn Levarie S Guillaume de Machaut 1969 Da Capo Marrocco W T Trie Music ofJacopo da Bologna 1954 U of Calif Press Montagu J The World of Medieval and Renaissance Musical Instruments 1976 David & Charles Parrish C The Notation of Medieval Music 1978 Pendragon Raynor H A Social History of Music 1972 Barrie & Jenkins Reese G Music in the Middle Ages 1940 Norton Reese G Music in the Renaissance 1954 Dent Reese G et al The New Grove High Renaissance Masters 1984 Macmillan Roche J /fa//an Madrigals 1974 Penguin Roche J The Madrigal 1972 Hutchinson Rowen R H Music Through Sources and Documents 1979 Prentice-Hall Sachs C The Rise of Music in the Ancient World 1943 Norton 'Seay A Music in the Medieval World 1975 Prentice-Hall Strunk O ed Source Readings in Music History: i, Antiquity and the Middle Ages 1965 Norton Strunk O ed Source Readings in Music History: ii. The Renaissance 1965 Norton Wellesz E ed The New Oxford History of Music Vols 1-4 OUP Werf H van der Trie Chansons of the Troubadours and Trouveres 1972 Oosthoek Wilkins N Music in the Age of Chaucer 1979 Brewer PRESCRIBED SCORES Davison A and Apel W eds Historical Anthology of Music Vol 1 Harvard UP Hoppin R H ed Anthology of Medieval Music 1978 Norton Lemer E Study Scores of Musical Styles 1968 McGraw-Hill 'Marrocco W T and Sanders N eds Medieval Music (The Oxford Anthology) 1977 . OUP 'Palisca C V ed Norton Anthology of Western Music Vol. 1 1980 Norton "Josquin F Missa Pange Lingua, Missa de Beata Virgine Kalmus Study Score No 702 nd Belwyn Mills 'Landini F Three-Part Ballate, Madrigals, Caccia 1982 L'Oiseau-Lyre 'Machaut G Les Ballades 1977 L'Oiseau-Lyre 'Richafort J and Gombert N Drei Motteten uber den Text Quern dicunt homines Das Chorwerk No 94 1964 Moseler

740-401 MUSIC HISTORY 4B (PASS) and 740-461 MUSIC HISTORY 4B (HONOURS)

ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC REFERENCE BOOKS Apel W The Notation of Polyphonic Music 900-1600 1953 The Medieval Academy of America "Brown H M Music in the Renaissance 1976 Prentice-Hall Cattin G Music of the Middle Ages 11984 Cambridge Gallo F A Music of the Middle Ages I11985 Cambridge "Grout D J A History of Western Music 1973 Dent Harman A Man and His Music: i, Medieval and Early Renaissance Music 1962 Barrie & Jenkins Hoppin R H Medieval Music 1978 Norton Montagu J The World of Medieval and Renaissance Musical Instruments 1976 David & Charles Raynor H A Social History of Music 1972 Barrie & Jenkins Reese G Music in the Middle Ages 1940 Norton Reese G Music in the Renaissance 1954 Dent

80 Reese G et al The New Grove High Renaissance Masters 1984 Macmillan Roche J Italian Madrigals 1974 Penguin "Seay A Music in the Medieval World 1975 Prentice-Hall Werf H van der The Chansons of the Troubadours and Trouveres 1972 Oosthoek PRESCRIBED SCORES Davison A and Apel W eds Historical Anthology of Music Vol I Harvard UP Hoppin R H ed Anthology of Medieval Music 1978 Norton Lerner E Study Scores of Musical Styles 1968 McGraw-Hill Marrocco W T and Sanders N eds Medieval Music (The Oxford Anthology) 1977 OUP "Palisca C V ed Norton Anthology of Western Music Vol. 1 1980 Norton

740-213 MUSIC LANGUAGE STUDIES 2 Andrews H K The Oxford Harmony vol 2 1961 OUP "Kennan K W Counterpoint Workbook 1972 Prentice-Hall Kennan K W Counterpoint 1972 Prentice-Hall Kennan K W The Technique of Orchestration 1952 Prentice-Hall Piston W Harmony 1983 Gollancz Piston W Orchestration 1955 Norton

740-313 MUSIC LANGUAGE STUDIES 3 A Booklist will be available from the department at the beginning of each academ­ ic year.

Scores will be given at the beginning of each term.

740-216 MUSIC PERFORMANCE 2 Experimental Teaching Project The Enjoyment of Music Through Group Activity 1975 MUP

740-472 MUSICOLOGY (HONOURS) Barzun J and Graff H F The Modern Researcher 3rd ed 1977 Harcourt Brace & World Duckies V Music Reference and Research Materials: An Annotated Bibliography 3rd ed Schirmer "Gibaldi J and Achtert MLA Handbook 1980 Modern Language Assoc "Kerman J Musicology 1985 Fontana Mixter K E General Bibliography for Music Research 2nd ed 1975 Detroit Informa­ tion Co-ordinators Pruett J W and Slavens T P Research Guide to Musicology 1985 American Library Assoc Westrup J A An Introduction to Musical History 2nd ed 1973 Hutchinson

720-022 PHILOSOPHY OF EDUCATION M Barrow R and Woods R An Introduction to Philosophy of.Education 1982 2nd ed Methuen Dewey J The Child and the Curriculum and the School and Society 1956 Phoenix Books "Hanslick E The Beautiful in Music 1957 Liberal Arts Press or 1974 Da Capo Hirst P Knowledge and the Curriculum 1974 Routledge & Kegan Paul Hospers J Human Conduct 1972 shorter ed Harcourt Brace Jovanovich Neill A S Summerhill 1974 Penguin Sullivan J W N Beethoven, His Spiritual Development 1964 Unwin Snook I A ed Concepts of Indoctrination 1972 Routledge & Kegan Paul

81 171-100 PSYCHOLOGY 1 Details as per ARTS Handbook

171-211 PSYCHOLOGY 2M Refer to ARTS Handbook entry for 171 -201 Psychology 2

720-044 SOCIOLOGY OF EDUCATION M Connell R et al Making the Difference 1982 Allen & Unwin Spender D Invisible Women 1982 Writers & Readers

82 SECTION 8: APPENDICES APPENDIX 1: UNIVERSITY GENERAL PRINCIPLES OF SELECTION FOR ENTRY TO POSTGRADUATE COURSES 1. Preamble 1.1 Applicability These principles shall not apply to such postgraduate courses under the direct control of the Academic Board as the Academic Board may pre­ scribe from time to time.1 1.2 Selection Committee 1.2.1 There shall be a selection committee for entry to each post­ graduate course consisting of the Dean the faculty concerned, or a person nominated by the Dean and such other members as may be appointed by the faculty. If any member of a selection committee is unable to act, the Dean of the faculty may approve the appointment of a substitute, on behalf of the faculty concerned. 1.2.2 A selection committee shall identify those applicants to whom of­ fers shall be made for places available for that course. 1.2.3 A selection committee shall make its decisions by the vote of a majority of the members present and voting and shall report those deci­ sions to the faculty as soon as possible. 1.3 Applications * 1.3.1 Applicants for selection should submit applications on the appro­ priate form by the date preset ibed or by such closing date as may be prescribed for the receipt of late applications.2 1.3.2 No application for selection lodged after such closing date shall be considered unless the selection committee concerned is satisfied that special circumstances exist which justify a late application. 1.4 Special and General Principles 1.4.1 Special principles of selection for any faculty may be approved by Council on the recommendation of the Academic Board. 1.4.2 Except insofar as is provided by general principles of selection, those special principles shall not conflict with the general principles. '1.5 Eligibility Except as otherwise provided in special principles of selection, applic­ ants for selection to the first or later years of a postgraduate course must have: (a) satisfied the University entrance requirements; (b) satisfied any prerequisite or entry requirements for, and the provisions of any regulations applicable to, the course for which seleciton is sought; (c) successfully completed, to a standard satisfactory to the appropriate faculty, courses of study which, in the opinion of the faculty, are equivalent to those for which standing or credit is sought; and (d) complied with any requirements for eligibility contained in special prin­ ciples of selection for the course for which selection is sought. 1.6 Level of Entry (Applicable only to postgraduate courses which are divid­ ed into years.)

83 1.6.1 The selection committee shall consider applicants for selection at the year or level of the course which is determined in accordance with the relevant course regulation and any working rules3 of the faculty. 1.6.2 To the extent necessary to establish the year or level for which an applicant is to be considered for selection, credit to be granted for work done in other courses may be determined in accordance with Regulation 3.3 and any working rules, if the faculty has not provided otherwise for such a determination. 1.6.3 Unless the applicant has specified otherwise, any applicant found to be ineligible for selection at a particular level shall be considered for selection at the highest level for which the applicant is eligible.

2. Selection 2.2 Pursuant to the following principles and to any special principles ap­ proved by Council, the selection committee shall identify those eligible applicants who are considered most likely to pursue successfully the course concerned. Such applicants shall be ranked by the selection com­ mittee and places shall be offered in accordance with such ranking until the places available4 have been filled. 2.1.1 Selection shall be based primarily on academic merit as judged by reference to the whole academic record of the applicant.

2.1.2 In establishing the relative likelihood of success of any applicant, a selection committee may, at its discretion, take into account: (a) the age of an applicant when completing part of or all of a course of study relied on as qualifying the applicant for admission and the peri­ od of time which has passed since completion of those studies; (b) any illness, war or military service, or serious hardship as a result of which the studies or examination performance of an applicant have, in the opinion of the committee, been adversely affected; (c) physical handicaps or disabilities; (d) reports from persons with relevant professional qualifications, where those reports may assist the selection committee in evaluating the effect of factors referred to in paragraph (b) or (c); (e) the applicant's reasons for wishing to pursue the course; (f) any work or research experience which, in the opinion of the selection committee, may be relevant to the proposed course of study; •(g) any other matters specified in the special principles of selection of the course for which selection is sought. ' 2.1.3 A selection committee may conduct interviews to elucidate the matters referred to in section 2.1.2 above or for such purposes as may be provided for in special principles of selection.

" Makes provision for Special Principles to be proposed 1 Pursuant to Statute 2.3 (The Academic Board), the Academic Board exercises the powers and performs the duties of a faculty for all courses not pertaining to any faculty. The Master of Business Administration course and the Doctor of Philosophy course are under the direct control of the Academic Board and. in respect of these courses, the Board is deemed to be a faculty within the meaning of these General Principles of Selection. The Board has prescribed that these General Principles of Selection shall not apply to entry to the Doctor of Philosophy course. 2 Such dates, if any, may be prescribed in special principles of selection or by notification in the relevant Handbook for the course concerned. 3 Where working rules are used, a copy may be obtained from the Assistant Registrar of the faculty concerned.

84 2.1.4 A selection committee shall take into account any relevant written information submitted by an applicant. ' 2.1.5 A selection committee may conduct written or other tests for such purposes as may be provided for in special principles of selection. ' 2.1.6 A selection committee may also take into account any special prin­ ciples of selection or other factors approved by Council on the recom­ mendation of the faculty concerned. 2.2 A selection committee shall select a candidate only if it is satisfied that the faculty can arrange for the adequate supervision of the candidate and can provide, or arrange access to, adequate facilities for the support of that candidate. *3. Conditional Selection Pursuant to Regulation 3.3, section 1(1), special principles of selection may provide for the imposition of conditions subject to which admission may be granted. 4. Reservation of Places in Quotas (Deferment) '4.1 Special principles may provide that for applicants who have been select­ ed for a course, places in the succeeding year's quota shall be reserved, provided that a faculty may fix the number of places to be reserved in any year. 4.2 The selection of an applicant to a course in the year for which selection is principally being made shall not be prejudiced by an application for reser­ vation of a place in the succeeding year's quota having been made prior to or at the time of accepting the offer of a place. '4.3 Where an applicant has been granted a deferred place pursuant to para­ graph 4.1, the applicant shall notify the faculty concerned by the date specified by the faculty:- (a) whether or not the place so reserved wiil be taken up in that succeed­ ing year; (b) whether a further deferment for a second year is sought. A selection committee may, after considering such evidence and con­ ducting such interviews as it thinks fit, and subject to any special princi­ ples of selection, grant a deferred place for a second period of one year.

4 Places available shall be determined by Council in accordance with resolutions agreed by Council from time to time and notified in terms of target figures, quotas or sub-quotas of Weighted Student Units attributable to postgraduate students, reserved for each faculty or postgraduate course of the University, as the case may be. 'Makes provision for Special Principles to be proposed.

85 APPENDIX 2: MUSIC COURSES AT THE VICTORIAN COLLEGE OF THE ARTS Undergraduate Courses for Performers The School of Music of the Victorian College of the Arts offers full-time courses of three years' duration leading either to the UG1-degree award, BACHELOR OF ARTS IN MUSIC, or to the UG2 award, DIPLOMA OF ARTS IN MUSIC. Normally, applicants have completed six years of secondary education. Admission is sub­ ject to auditioning succesfully, and a high level of performing ability is required. Advanced standing may be granted to students transferring from other tertiary institutions, but the final year of the course must be completed on campus in full. The initial year of College study is probationary. Graduating students are required to present public performances at a profession­ al level either as soloists or as directors of ensembles, demonstrating skills in conducting, rehearsing and writing for ensemble players. A small number of degree students may be permitted to specialize in composition, music history or musicology in their final year of studies, but such course components will total no more than 40 per cent of the third year prescriptions. The specialization permitted each student concerned will be within an individual programme of study having a major emphasis on performance. As well as leading to a number of performing vocations, the College's undergraduate courses provide a basis for music teach­ ing and are approved for entry to some teacher-training programmes. Every student receives generous individual instruction on the principal performing study. Ensemble training is provided by the symphony orchestra, large ensem­ bles and various chamber combinations. Students of guitar, pianists and singers attend specialist ensemble classes and attend weekly master classes. Theoretical studies in the diploma course include musicianship, materials and music literature classes and tutorials. Degree students complete additional historical studies developing understanding of performing practice styles. Per­ forming electives may be undertaken in the College's Renaissance, Baroque, Contemporary and Jazz ensembles. Graduate Studies The PG1 GRADUATE DIPLOMA IN MUSIC course is of two years' duration. It is designed either to provide advanced repertoire studies or to broaden areas of undergraduate specialization. The graduate course provides for approved profes­ sional engagements to be undertaken concurrently with course work. Entry is by audition only following completion of a first degree or diploma majoring in music performance. Special consideration may be given to unqualified applicants of exceptional ability. Opera and Music Theatre The Victorian College of the Arts offers a three year part-time course of studies in Opera and Music Theatre leading to a UG3 ASSOCIATE DIPLOMA award. Sing­ ers must demonstrate at audition that their voices are sufficiently matured and well-trained to undertake stage work. The course in Opera and Music Theatre is conducted by the College in its studios at the National Memorial Theatre, St Kilda.

86 ALUMNI ASSOCIATION The University is more than just buildings and people, staff and students, thrown together for a few years. Former students and staff remain members of the University for life — they are our ALUMNI. Many continue to take an active interest in the University and the wel­ fare of its students by advising on career choices, helping to improve facilities, providing scholarships and other valuable services. Graduates elect ten members to the University Council and participate in other governing bodies. The ALUMNI ASSOCIATION sends members the quarterly University Gazette to keep them informed about the activities of the University. The Association also encourages members to use the facilities of the University — the libraries, sports union, continuing education courses — and to keep in touch, through reunions and the branches that have been established interstate and overseas. As a student, you are beginning an experience that will last you a lifetime, and may take you far afield. Graduates are a diverse and mobile population — and, sadly, we have lost contact with some of our Alumni. If you have friends or relatives who studied here and are not receiving the Gazette, please let us know, or ask them to contact us. They are certain to be keen to catch up with University news, and we would be delighted to put their names on our mailing list.

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Send to the Alumni Office, The University of Melbourne, Parkville, Vic. 3052. Or phone (03) 344 7469 or drop in to the office at 216 Leicester Street (near the front entrance to the University).

87

Library Digitised Collections

Author/s: The University of Melbourne

Title: Handbook: Faculty of Music 1989

Date: 1989

Persistent Link: http://hdl.handle.net/11343/129007